^T^L^ 



2 



PRICE TWENnry-FIVE CENTS 







A FIGHT AGAINST 
FATE \i 

DRAMA 

BY 

JOHN RUPERT FARRELL 



^S^ 
^/^ 

















































DICK & FITZGERALD 

PUBLISHERS 

i8 Ann Street, New York 






i?. 




PLAYS FOR FEMALE CHARACTERS ONLY I 

J5 CENTS EACH 

T 

CRANFORD DAMES. 2 Scenes; 1^ hours 8 

GERTRUDE MASON, M.D. 1 Act; 30 minutes 7 

CHEERFUL COMPANION. 1 Act; 25 minutes 2 

LESSON IN ELEGANCE. 1 Act; £0 minutes 4 

MAIDENS ALL. FORLORN. 3 Acts; 1}4 hours 6 

MURDER AVILL OUT. 1 Act; 30 minutes 6 

ROMANCE OF PHYLLIS. 3 Acts; l^ hours 4 

SOCIAL ASPIRATIONS. 1 Act; 45 minutes 5 

OUTWITTED. 1 Act; 20 minutes 3 

WHITE DOVE OF ONEIDA. 2 Acts; 45 minutes 4 

SWEET FAMILY. 1 Act; 1 hour 8 

BELLES OF BLACKVILLE. 1 Act; 2 hours 30 

PRINCESS KIKU. (35 cents) 13 

RAINBOW KIMON A. (25 cents.) 2 Acts; li^ hours 9 

MERRY OLD MAIDS. (S5 cents.) Motion Song 11 



PLAYS FOR MALE CHARACTERS ONLY 

15 CENTS EACH 

H 

APRIL FOOLS. 1 Act; 30 minutes .*... 8 

BYRD AND HURD. 1 Act; 40 minutes 6 

DARKEY WOOD DEALER. 1 Act; 20 riinntes 8 

WANTED, A MAHATMA. 1 Act; 30 mi. tes 4 

HOLY TERROR. 1 Act; 30 minutes 4 

MANAGER'S TRIALS. 1 Act; 1 hour 9 

MEDICA. 1 Act; 35 minutes 7 

NIGGER NIGHT SCHOOL. 1 Act; 30 minutes 6 

SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 

WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 

SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 

PICKLES AND TICKLES. 1 Act; 20 minutes 6 

HARVEST STORM. 1 Act; 40 minutes 10 

CASE OF HERR BAR ROOMSKI. Mock Trial; 2 hours.... 28 

DARKEY BREACH OF PROMISE CASE. Mock T/ial. 22 

GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 

RIDING THE GOAT. Burlesque Initiation; 1 Scene; 1^^ hours 24 



DICK & FITZGERALD, Publishers, 18 Ann Street, N. 




A FIGHT AGAINST FATE 



a 2Drama in four %tt$ 



BY 



JOHN RUPERT FARRELL 



Copyright, 191 i, by Dick & Fitzgerai^d 



NEW YORK 

DICK & FITZGERALD 

18 ANN STREET 



Note. — The acting rights of this play are expressly re- 
served by the publishers to whom theatrical managers who 
wish to produce it should apply. Amateur representation 
may be made without such application and without charge. 



A FIGHT AGAINST FATE. 



CHARACTERS. 



Major Eemming An escaped Convict 

JuDSON Summers Alice*s Father 

Seth Rutherford A young Farmer 

Oliver Budd A Farm Hand 

CoREY^^' "I ^^^ Major's Partners 

LuTCHENBERG A Banker 

Galloway A Sheriff 

Alice The Majors Wife 

Sue Oliver s Sweetheart 

Time. — The present. 

Locality. — The Summers* Homestead near New York. 

Time of Playing. — Two hours and a half. 

SYNOPSIS. 

Act I. Exterior of J udson Summers' homestead. Evening. 
Major Remming has secretly married Alice, Judson's 
daughter. The Major has been a thief. His two pals prev- 
ious to his marriage discover that the Major is an escaped 
convict. At his marriage, the Major has determined to lead 
a new life, but his pals will not let him. They have formed 
a plot to use Alice as a decoy to enveigle a rich banker, with 
a view to robbery. Alice is horrified, leaves her husband 
and seeks her father's pardon. The father is obdurate and 
compels her to return to her husband. Seth, her former 
lover, follows her, hoping to rescue her. 

Z 

CCLD 23,941 



A Fight Against Fate. 3 

Act II. The Major's apartments in New York. Next 
evening. The Major^s terrible dilemma. The sheriff is on 
his track, but he defies his tempters, and will surrender 
rather than allow his wife to be used to entrap and rob the 
banker. Alice, to save her husband, agrees to aid the robbers. 
At the critical moment Seth interferes, saves the banker and 
defeats the thieves. 

Act III. Old-fashioned sitting-room in Summers' home- 
stead. Next evening. Alice returns home and is at last 
received by her father. The Major still determines to re- 
deem the past, but his companions will not permit it. The 
Major's alternative, — to keep with them or to be handed 
over to the Sheriff. Seth takes a hand in it and frustrates 
their designs. Judson opens his house to Alice and the 
Major. 

Act IV. Same scene as Act HI. Morning. Three 
months later, during which the Major has gained confidence 
and respect, and is offered responsible employment. His 
two former companions have been bought off by Seth, but 
now demand further blackmail, which is again paid by Seth. 
The Major witnesses this unseen, and forces Bullard to re- 
turn Seth's cheque. Corey is repentant, but Bullard still 
persists against the Major. The Sheriff is seen approaching. 
Seth and the Major exchange hats and coats, and the 
Major succeeds in escaping on horseback. Shortly after the 
Major is thrown from his horse and is brought back in a 
dying condition. Corey has learned that Bullard is wanted 
by the police, denounces him, and Bullard is led off a pris- 
oner. The Major's dying words entreat Seth to protect 
Alice. 

GENERAL DIRECTIONS. 

Major Eemming. Age 32, clean cut and neatly dressed. 
He is a man of quiet determination, and thoroughly self- 
controlled; his former career entirely changed by his love 
for his wife. He was an escaped convict, and now black- 
mailed by former evil companions. 

JuDSON Summers. Age about 50. Costume befitting a 
well-to-do farmer. Very determined in his ways, but subse- 
quently yielding to paternal affection. 

Seth Rutherford. A young and successful farmer aged 
27. Well-dressed, frank, good-natured, but resolute. A 
friend in need. 



4 A Fight Against Fate. 

Oliver Budd. Age 20. Ordinary farm dress, but sport- 
ively inclined and an enthusiast for baseball. In Act IV. 
he appears in underclothing of a loud pattern. 

BuLLARD. Age 35, flashily dressed. Voice and manner 
snappy and vindictive; the Major's bitter persecutor. 

Corey. Age 26. Dressed in loud fashion, voice and man- 
ner tough; not altogether depraved, and smarting under 
Bullard's peremptory domination. 

LuTCHENBERG. Age 45. Plainly but handsomely dressed; 
Jewish in appearance and accent. 

Galloway. Age 40. Western type, frank and outspoken. 

Alice. Age 22. Tastily but neatly dressed; devoted to 
her husband, the Major, even to the crucial test of self- 
sacrifice. 

Sue. a rather coquettish girl of 19, but true to Oliver, 
her lover. 

INCIDENTAL PROPERTIES. 

Baseball mask and bat; letter; tract; bag of peanuts; an- 
other letter, for Oliver. Half-mask; newspaper for Bullard. 
Photograph; revolver; cheque-book, for Setii. Letter for 
JuDSOX. Half-mask for Major. Leather bag of money for 
LuTCHENBERG. Half-mask; flask of whiskey, for Corey. 

Note. The lamp used in Act II, that Lutchenberg smashes 
may be made of metal, a large candle being used in place of 
oil. The instant the lamp is smashed the lights should be 
lowered. This is a very effective scene but requires some 
rehearsing. 

STAGE DIRECTIONS. 

As seen by a performer on the stage, facing the audience, 
r. l. c. means the right hand, left hand, and centre of the 
stage. D. R., door at right; d. l.. door at left; D. c, door in 
centre of rear flat. Up, toward rear of stage; down, toward 
the footlights. 



A FIGHT AGAINST FATE. 



ACT I. 

Scene. — Exterior of the Summers' homestead. Sunset. 
Roadway at rear; fence with gate at c. in front of 
roadway. EXITS R. and L. of the road. EXIT l. c. to 
house. Garden chair down L. with a rifle leaning against 
it. Rustic settee down R. JuDSON Summers DIS- 
COVERED seated on chair R. 

ENTER Sue rear r. humming. " The Old Oahen BucJcet.'' 

Sue (approaching Judson). Have you heard from Alice 
lately, Mr. Summers? 

Judson. Not one word, Sue, but T am just as well satisfied, 
— letters only serve to bring her back in memory. 

ENTER Oliver, rear r., carrying a hasehall mask and a hat. 
Stops up stage and listens. 

Sue. Fve said a lot of hard things about Alice, but I 
want to take them all back. She's still my old schoolmate, 
and I'm going to New York to-morrow, to bring her back! 

Judson (rising, sternly). That I forbid! 

Oliver. What right have you to forbid that? You turn- 
ing against her is no reason why her friends should. (To 
Sue) What have you been saying. Miss Busybody? 

Sue (a little ashamed of herself). All I said, Oliver, was 
that she had been seen drinking wine in a public place. 

Oliver. What if she did drink wine — perhai)s the water 
wasn't fit to drink. I've seen water that I wouldn't drink 
myself if there was wine in sight. Alice isn't here to speak 
for herself, or she'd say this scandal about her is all a lie! 
(Turning to Judson) And with all respect to you, Mr. 
Summers, you should be the last to believe a word of it. 

Judson. It is a good trait in you, Oliver, to defend an 



6 A Fight Against Fate. 

erring wotnan, but she drove the happiness from Seth's heart 
and mine, when she ran away. (Moves to house door.) 

Oliver. There's not a man in the village that hasn't a 
good word for her, it's the durned women that's doing all the 
talking. (Looking at Sue) Yes, you're one of them. 

Sue. But I've repented. I would not listen to a word 
against her now. 

Oliver. Me for Alice, whether you do or not. 

JuDSON. Come, come, you two must not quarrel, true love 
does not run that way. 

Oliver. The course of true love never did run smooth 
when there was a woman in it. If a girl can't make a fellow 
happy before marriage, it's dollars to doughnuts that she 
won't after marriage. 

Sue. I'll try to, Oliver. 

Oliver. Well, before we start on the home run, I'm going 
to learn a little more about your sex. (Remembers that he 
has a letter and produces it) Durn me if I didn't almost 
forget this letter. (Gives the letter to Judson) It's post- 
marked New York, and it looks like her handwriting. 

Sue (crosses c. eagerly). Oh, let me read it, please do. 

Oliver (advancing to her). The letter isn't for you. If 
you want something to read, take this tract thnt T picked up 
on the roadside. It's called " The Evils Of The Tongue," 
and when youVe read it, think of Alice, and keep quiet about 
her. 

Sue (talcing fhe tract). I never thought you'd turn into a 
musty old preacher. (Sits r. and reads.) 

Oliver (in disgust). Preacher! I'm a ball player and 
some day I'll play with one of the big leagues. (Turning to 
Judson) If they'll let me. (To Judson) Is the letter from 
Alice? 

Judson (sadly). Yes, it is from my poor girl. 

[EXITS into house with lowed head. 

Oliver (gazes after him a few moments, then turns to 
look at Sue). She's reading the tract all right. It's a 
patent medicine advertisement, but it fooled me. (Crosses 
and sits beside her) Did you get to where it says " Take 
three pills night and morning ? " 

Sue (throwing the tract away in disgust). I thought 
there was something wrong with it. 

Oliver (takes out a bag of peanuts and gives one to Sue). 
Have a peanut? (She takes the peanut and eats it in 
silence. Oliver repeating the action). Have another? 



A FigM Against Fate. 7 

She (taldng the peanut). Stingy I 

Oliver (giving the hag^ to her). Here, take the bag. 
(Sue eats the peanuts in silence.) 

Oliver (after a pause). Do you know, Sue, you remind 
me an awful lot of a squirrel. 

Sue (munching away). How is that? 

Oliver. You're so durned fond of nuts. 

Sue. Don't you think you used me kind of rough? 

Olr'ER. Let's kiss and make up. 

Sue (oiferinq al'iss). Just one. .-,. u 

Olher. When T kiss a girl, I do it right, providing she 
isn't chewing gum. One of my kisses is just as sweet as a 
pound of chocolates, and you don't have to use a napkin. 

SvE (in position). Well, I'm ready. . 

Olh^er (looUng at her). Your mouth is just watering tor 
a kiss. What are you thinking about? 

Sue. Lemons, Oliver, lemons! ^ 

Olr'ER. Now you've got my mouth watering. ( Wipes his 
month.) 

Sue (disappointed). You're awful slow. 

Oliver (turning away carelessly). Maybe I don t want it. 

Sue. You said you'd kiss and make up. You can t blame 
me for being angry with Alice. Seth is wearing his heart 
away for her, and he won't let me give him one word ot com- 

^Oliver. Seth is wise. When a woman offers a fellow 
comfort in a love affair, it is hard to tell what her game is. 

Sue. I don't think you'd make a very good husband. 

Oliver (placing his arm around her). Yes, you do. 

Sue. I'm not sure, but somebody's got to take you. 
(Turns her face to him for a Jciss.) ^ , . ._. , 

Oliver. Then I might as well do it. (Kisses her 

vehemently.) . ^ rr^■, > ^^a 

Sue (ruhhing her face and lips). There, youVe gone and 

cracked my lips! 

Olwer. Let's try it again. Sue. ^ 

Sue (rising). No, no more of your kisses lor me. 

(Goes up stage to gate and looks off R.) ^ , i i • 

Oliver. Out on first base, and the umpire wasn t looking. 
Sue. Oh, they are coming back ! . , , , 

Oliver (looking towards her). Who's coming backj 
Sue Two friends of mine from the city. One of them 

is an ex-prize fighter. Oliver, what does that mean? 
Oliver. Excellent prize fighter. 



8 A Fight Against Fate. 

Sue. He told me that he fell in love with me at first sight. 

Oliver (fondling the hat). I'll put him out in the first 
inning if he tries to steal a base on me. (Joins Sue and 
holes off R.) A couple of " Grandstanders " all right. (To 
Sue) You be careful how you talk to those fellows. (.Moves 
down L.) 

Sue (to herself). Jealous already, well, I'll just give you 
good cause to be. (Waving her hand in welcome) Here 
they come! 

ENTEE Corey and Bullard rear r. 

Sue. I was afraid you'd gone back to New York. 

Corey (touching her under the chin). Without saying 
good-bye to you, pretty one. You should know me better 
than that. (Offering his arm) Come on, let's sit down and 
have a heart to heart talk. (Leads her to settee down r. and 
seats himself with her. Bullard moves down c. takes out a 
paper and reads.) 

Sue (surveying Corey in admiration). You are a perfect 
fashion plate. I want you to come and see me again some 
time. 

Corey. Sure I will, and I'll take you to New York when- 
ever you feel like going. 

Sue. That is very kind of you. 

Corey. Not at all. I'll buy you all the soda and peanuts 
you can eat and drink, and take you to the theatre as well. 

Olh'er (laughing loudly). He's a dead game sport, all 
right ! 

Corey (to Oliver). What are you laughing at? 
• Oliver (in surly tones). None of your business. 

Corey (to Sve). Tell that boy to bring me a glass of 
water. 

Sue (to Oliver). Oliver, bring the gentleman a glass of 
water. 

Oliver (defiantly). Let the gentleman go and get it. 

Sue. You're just like the country boys, not a bit polite. 

Corey (to Sue). Never mind, sweetheart. (Holding his 
arm out) Feel my muscle, when I was in the ring, I was 
a wonder. 

Sue (feeling his muscle). My! But you are a man, every 
inch. (To Oliver) Oliver, come and feel the gentleman's 
muscle. 

Oliver (shouting). What do I want to feel his muscle 
for? 



A Fight Against Fate. 9 

Corey {to Olher). Come on, son, don't be a grouch. 
Feel the muscle of a fighting man. I wont hurt you. 
Oliver (fondling the hat). You can bet you wont hurt 

Corey (placing his arm around Sue). Notice how the 
girls all take to a fighting man? (To Sue) Come on, bis, 
give your big brother a kiss. (Tries to Inss her.) 

Sue (holding off). Oh no, Oliver might not like it. 

Corey (to Oliver). Chase yourself, kid, chase yourseli! ^ 

Oliver (moves to Bullard and hnochs the paper out of his 
hand). Say, sport? 

Bullard. What's the matter, Rube? 

Olt\'er (pointing at Corey). That's my girl you re getting 
gay with. (Cautiously to Bullard) Say, is he a real prize- 
fighter ? 

Bullard. The best in the business. 

Oliver (in douU). Honest? . , , - ,, , , 

Bullard. Sure. Don't monkey with that fellow, he a 

dangerous. -, , , . , ^ n rnx. ^ 

Olwer (fondling the hat and looTcmg at Corey), ihat 
fellow's a warrior. (To Bullard) You tell him I'd like to 
talk to him, will you ? ^i, i • j 

Bullard. Sure. (Crosses to Corey) Corey, the kid 
wants to speak to you. (Corey rises. Bullard takes hts 
place with Sue.) „.,,., ^ ^ „ 

Corey (crosses to Oliver). Hello, kid, want to see me? 

Olr er (to Corey) . Yes, I never met a prize-fighter before. 
(Baching away cautiously) How do you do? 

Corey (holding out his hand). Shake. (They shake 
hands. Corey tries to hurt him, hut Oliver discovers that 
he has the strongest grip, and makes Corey howl with pain, 
Corey raises his left hand to strike.) 

Oliver (raising the hat with his left hand). Go on! 

Corey (trying to pull away). Hey, let go, kid! 

(Oliver releases him and then discovers that Bullard has 
his arm around Sue. Moves to centre and whistles to 
Bullard.) 

Bullard (to Sue). Listen to the jay bird. (Looks up.) 
Sue (to Olwer). Were you whistling to us? 
Oliver. I want to talk to that fellow. 
Corey (to Oliver). Crush his mit, kid, crush his mit. 
(Crosses R.) 



16 A Fight Against Fate. 

BuLLARD. Oh, tell him to go and milk the cows. I donH 
want to bother with him. 

Sue. Nor do I. (Rises and moves up r. c.) Will some- 
body take me for a wall^ ? 

BuLLARD (rises quichly and offers his arm). With 
pleasure, my dear Sue. 

Corey (offering his arm). Down the lane with me, my 
country rosebud. 

Sue. a walk with either of you gentlemen would be 
perfectly delightful. (Crosses and tal-es Oliver's arm) but 
I prefer to go with Oliver. 

Oliver. To the stable for yours and make yourselves right 
at home. (To Sue) Down the lane with me, my country 
rosebud. [EXIT with Sue into house, laughing. 

Bui.lard. See here, Corey, we are here for business, not 
pleasure. We must get the girl back to New York before her 
father gets a chance to forgive her. 

Corey. She's a pretty sort of a wife to throw him down 
when there's a big stake in sight. (They move to c.) 

Bullard. It's a fight between Alice and us. 

Corey. She's got him on the run. He wants to drop us 
now, and live respectable. 

Bullard (laughing). The Major live respectable! Why, 
he's been crooked for years. 

Corey. You know something. Tip me off. 

Bullard. I will, on condition that you keep your mouth 
shut, and follow me in every move I make. 

Corey. There's my hand on it. (They shake hands) 
Now what do you know? 

Bullard. I learned this by accident. The Major is an 
escaped convict. He worked his way out of a Western 
penitentiary two years ago. 

Corey. Go on. 

Bullard. There is a thousand reward for his capture. 

Corey. How did you get next ? 

Bullard. Through a Western Sheriff called Galloway. 
The Major escaped from his custody. 

Corey. Where is he now? 

Bullard. In New York, looking for his man. 

Corey (gives a low whistle of surprise). What would the 
Major do if he knew? 

Bullard. Fly the coop. What else could he do with ten 
years staring him in the face? 

Corey. Bullard, the Major's played a square game with 



A li'ight Against Fate* IX 

lis, now let's deal square with Iiira, and tip him off that the 
Sheriff is after him. He got tied up with a woman, but 
that's human nature. 

BuLLARD. Corey, you are a fool. I'm as far above you, as 
the Major is above me. Follow my lead and we'll come out 
on top. 

Corey. Well, make your game clear, so I'll understand. 

BuLLARD. We'll use our knowledge to frighten his wife. 

Corey. To get at Lutchenberg? 

BuLLARD. Precisely. 

Corey. After the deal, what then? 

BuLLARD. Then we'll have money enough to get along 
without the Major. If she refuses to work with us, back 
to prison he goes. 

Corey. I never betrayed a pal in my life, Bullard, and 
I'd hate to do it with the Major. 

Bullard. Corey, you are running third in this game, the 
Major's first, I'm second. Alone you couldn't make two 
dollars a day. Stick to me, I'll stick to the Major, and we'll 
divide a fortune between us. 

Corey. If she would only get in line. 

Bullard (with determination). We'll make her. 

Corey. Easier said than done. Where is she now? 

Bullard (looking around). Oh, she's not far off. By 
the appearance of things, the old gentleman is pretty well to 
do. I wonder what he thinks of his wayward girl? (They 
move up stage.) 

Corey. She may be in the house now. 

Bullard. No she's not. (Looking off k.) Here comes 
the Major. 

Corey (looking off l.). And here comes his wife. (They 
move doiun r. c.) 

ENTEK Major, rear r. 

Major. Well, have you seen her? 

Bullard. Yes, she's coming from that direction. (Points 

L.) 

Major (looking off l.). You are right, true to her word, 
she is coming to ask her father's forgiveness. (Moves down 

Bullard (moving a little nearer). Use all your influence, 
force if necessary, to get her away from here at once. Damn 
her 

Major (interrupting him). Don't damn that girl, Bullard, 



12 A Fight Against Fate. 

or I'll break your neck. Though I am trying to drag her to 
our level, I will not let any man speak that way of her. 

BuLLARD. She's one of us. 

Corey. Bullard's right. 

Major. That is her misfortune. 

BuLLARD (sneeringly) . Well, she doesn't care for you, 
Major. She thinks herself above us three. 

Major. And so she is, as far above us as the sky is from 
the ground. 

Corey. Think of the money. Major. 

Major. A dirty job for an honest woman, Corey. 

Bullard. Well, there's no taint to the coin. She could 
do the trick easy. 

Major. She will do the trick, and it is the last. 

Bullard. Not redemption. Major, surely? 

Major. Yes, redemption, I'm going to live her way. 

Corey. After this job, that goes! 

ENTER Alice l. and moves down l. c. The Major ap- 
proaches her quicTcly. 

Major. Alice ! 

Alice {turning with a gesture of fear). What are you 
doing here ? 

Major. I want you to come home with me. 

Alice. This is my future home if my father will take me 
back. 

Major. Don't desert me, Alice, you are my wife. 

Alice. But not your slave. Major, and none but a slave 
would do your bidding. I will not become a thief for you, 
nor your comrades there! 

Bullard. It means a fortune to us. 

Alice. And dishonor to me ! 

Corey (to Bullard). What does that mean? 

Bullard. I don't know. 

Alice. No, you are both too low to know what that means 
to a woman (To Major) but you are different, Major. 
You know what it means when you ask me to become your 
partner in crime? 

Major. You knew what I was when you married me. 

Alice. Yes, and I thought my love was strong enough to 
keep you from sin. It is far better that we should part 
forever ! 

Major (earnestly). I could not live without you, Alice. 
(TaJcing her hands) Come, come with me. 



A Fight Against Fate. 13 

JuDSON (from within). There's somebody outside, see who 

it is, Seth. *n . i 

Seth (answering from within). All right, Judson. 

Alice (in fear). Don't let them see you here, don't let 
them see you here! 

BuLLARD (cunningly). Come to the depot with us. 

Alice (pushing the Major to r.). Go, Major, go! 

[EXIT BuLLARD and Corey quicUy r. followed hy the Major 
and Alice. 

ENTER Alice in a few moments to watch Judson and Seth 

unseen, 

ENTER Seth slowly from the house, and crosses to settee R. 
where he sits and takes a photograph out of his pocket, 
and gazes at it in silence for a few moments. Judson 
appears in doorway and watches him. 

Judson. Thinking of Alice? It would be better for you, 
boy, if she had never been born. (Approaches Seth.) 

Seth (places the photograph in his pochet, and holes up, 
slightly confused). I didn't hear you coming, Judson. 

Judson. Forget her, Seth, she is unworthy of you. (Gives 
letter to him) Read this letter. 

Seth (reads). " Forgive me and take me back. The man 
I married is an escaped convict, I cannot live with him 
and be a good woman. Seth will forgive me, I know. Will 
you not be as kind to your unhappy girl? Send Seth for me. 
Alice." 

Judson. She has chosen her companions, knowing their 
evil life. Let her seek protection from them! 

Seth. If I were the father of a girl, I'd go through fire 
and water to protect her, and whether you like it or not, 
Judson, I'm going to Alice. (Rises.) 

Judson. She is another man's wife, Seth, you have no 
right to interfere! (Crosses slowly to door) It is well that 
her mother is not alive to witness her disgrace. 

[EXIT into house. 

ENTER Alice, r. and moves towards the door with out- 
stretched hands. 

Alice. Father ! 

Seth (goes to her quickly and takes her hands in welcome)* 
Alice ! 

Alice (with bowed head). Seth! 



14 A Fight Against Fate. 

Seth. Is it all true, Alice? 

Alice (looking into his eyes). Yes. It is true. 

Seth. What can I do for you, Alice, that is all I want to 
know now. 

Alice. If my father were only as charitable, I might be 
happy again, but I overheard his bitter words. 

ENTER Sue and Olr'er from house. Sue runs to Alice 
and embraces her. Olwer draws near. 

Oliver. I've got to hug her, or I'll bust with joy. 
(Embraces Alice quickly) Alice! 

JuDSON (from within). Seth, ho, Seth! 

Alice (in fear). Seth, my father! 

Seth. Courage, Alice, courage! 

Olwer (leading Sue down r.). I hope he won't be angry 
with her. 

JuDSON (in doorway). Seth. (On seeing Alice, he stops 
and assumes a stern attitude.) 

Alice (approaching him. Gently). Father! 

JuDSON (sternly). I did not send for you! 

Alice. Forgive me, father, I have no other home! 

JuDSON. Go to your husband, he will provide for you. 
(Sits down l.) 

Alice (approaching him). I want you to take me back, 
dad; to think of me, not as I am, but as your little Alice, who 
used to play at your knee, and bring your slippers to you 
when evening came, lisping the first word my mother ever 
taught me to speak, — Daddy! (Sinks at his knees in an out- 
burst of grief) Daddy! 

JuDSON (sternly, but with a great effort). Before the sun 
has set, you must be gone from my grounds! 

Alice (looking up at him in despair). You will not for- 
give me? 

JuDSON (sternly). No! 

Alice (rising and drawing back). Father! 

Olh'ER (crying). If you'll take her back, I'll quit smok- 
ing, stop playing ball on Sunday, go to church and marry 
Sue! 

Sue (crying). And I'll do all that Oliver does! 

Oliver. Sue will quit smoking stogies, too. 

Sue (pulling him). Oliver! 

JuDSON (sternly). Before the sun has set, she must be 



gone 



ENTER Major, Bullard and Corey r. and move down c. 



A Fight Against Fate. tS 

Corey nearest the audience, then Bullard and the 
Major. Seth faces them. 

Seth. Gentlemen, what is your business here? 

Major. I want my wife! 

Seth (moving down r. c). His wife! 

Alice (goes to the Major in fear). Why did you return? 

JuDSON (placing his left hand on rifle which is resting 
against the arm of the chair). That is the man! (Faces 
them quickly with the rifle in his hands) Which one, girl, 
which one! 

Alice (frightened). I will not tell you, father, you would 
kill him. 

JuDSON. Then I will read the guilt in his eyes. The man 
who quails before my gun, is the one I will kill. 

(They are standing in a row. He levels the gun, first at 
Corey, and then at Bullard. They meet him without 
flinching. JuDSON then levels it at the Major, who starts 
hack with a cry of fear Judson gives a cry of rage, and 
takes aim. Alice springs forward as the shot is fired, 
and raises the rifle, then sinks at her fathers knee, 
crying.) 

Alice. Father, do not kill the man I love! 
Seth (pointing R.). Go, while your lives are safe. 

(The Major, Bullard and Corey withdraw r. Seth moves 
into r. c. Oliver places his arm around Sue, who lays 
her head on his shoulder in grief. Alice rises.) 

JuDSON (to Alice). Follow your husband. He came to 
take you with him. (Turns aumy from her.) 

Alice (looks at Seth, and then approaches Judson with a 
pleading gesture) Father, you are sending me to my ruin! 

Judson (pointing sternly r.). Your place is by your 
husband's side. Go! and never let me see your face again. 
(Turns away from her.) 

Alice (turns to Seth, sohhing). Seth! Seth! 

Seth. T never thought he could be so cruel ! 

Alice. The sun is setting on the old home, Seth, and it is 
setting on my life. Just as every dear old scene will soon 
be dark, so will the future be to me. Good-bye, Seth! good- 
bye! [EXIT rear l. crying bitterly. 

Judson (moves to Seth a^id offers his hand, speaking in a 
tone of deep emotion). Seth, my boy! 

Seth (drawing himself up). I will never take your hand 



i6 A Fight Against Fate. 

again, Judson; she came to you with tears in her eye^, and 
heart heavy with sadness, and you drove her from you, your 
own child! (Looks off l.) She shall not go into the world 
alone ! 

Judson. Seth ! What are you going to do ? 

Seth. Follow the woman I love! 

(As the curtain descends Seth moves off l. and Judson hows 
his head in grief.) 



CURTAIN. 

ACT II. 

SCENE. — Next evening. A furnished room in the Major's 
apartment in New YorTc. Doors r. l., and c. of rear flat. 
Speaking tube near d. c. Telephone near d. r. Table 
and chairs down l. chair down R. Easy chair down l. 
Other furniture as convenient. Lighted lamp on table. 
DISCOVERED Corey asleep on chair l. 

ENTER Bullard d. c. crosses and sits r. 

Corey (dreaming). Crush his mit, Kid — crush his mit! 
(Snores.) 

Bullard (crosses to Corey, then yells in his ear). Ding! 
Dong! Time! 

Corey (springs up in fighting attitude, and hnocTcs Bullard 
over). Who hollered " time " ? I thought I was in the ring. 
Say, Bullard, how do you make love? 

Bullard. You're a pretty looking specimen to ask a 
question like that. (Rises) 

Corey. I'm going to make love to Sue. 

Bullard. Tell her that her eyes are like two twinkling 
electric lights. 

Corey. You mean stars. 

Bullard. You want the approved way? 

Corey. Sure. 

Bullard. Then electric lights goes. Hair like the sweet 
seaweed. Teeth like the gleaming billiard ball. Form like 
the matchless thoroughbred. Voice like the megaphone. 
Drop on your knees, go at it like a true sport, and you'll win 
Sue. 

Corey (in doubt). Straight? 

Bullard. On the level. 



A Fight Against Fate. 17 

Corey, I'll do it! 

BuLLARD. Something will happen if you do. 

ENTER Alice d. c. and comes down, 

Alice. Where is the Major? 

BuLLARD (rises). Gone out. He said he would return in 
a few minutes. (Pause) So you've decided to join us, eh? 

Alice. I came to seek my husband, but not to join you. 

BuLLARD. Well, I've found a way to make you obedient. 

Alice. Bullard, your words are an insult. If I told the 
Major he would make you regret them ! 

Bullard. You will keep silent for the sake of peace. 
(Coaxingly) You will help us with Lutchenberg, will you 
not? 

Alice (firmly). No! 

Bullard (in quiet steady tones). You will, to save the 
Major from the penitentiary! 

Alice (gives him a quick look of fear, then firmly). Not 
even to do that! 

Bullard (sneeringly) . You're a pretty sort of a wife! 

Corey (pulls him aside). Let her alone. If she did tell 
the Major, he'd spoil your pretty looks. (Moves towards 
Alice.) 

Bullard (laughing). Taking her part, eh? 

Alice. I am going to my room, Corey. Tell the Major 
when he returns. [EXIT D. R. 

Bullard. So the old man kicked her out! 

Corey. She will not be driven. Women have to be 
coaxed, that's my experience. 

Bullard. Corey, you do not know anything. (Moves 
towards him.) 

Corey (loohing at him ivith some resentment). I know 
enough to respect a good woman, whether she is with us or 
not! 

Bullard. Is she good enough to stand by the Major? 
(Pause) You don't answer, eh? 

Corey. It takes a woman to do the trick. 

Bullard. And on this particular occasion Alice is the 
woman. 

ENTER the Major d. c. and takes a seat at the tahle, in 
deep thought. They watch him closely, 

Corey (to Bullard). What will he do? 



l8 A Fight Against Fate. 

BuLLARD. Just as we tell him. Follow my lead. 

Major (to himself). Gone from me forever! 

BuLLARD (crosses c). Well, Major, what are you thinking 
about ? 

Major. My own affairs, Bullard, they do not concern 
you. 

Bullard. Getting snappish, eh? They might concern 
me. 

Major (with a quick glance of anger). And I say they do 
not! 

Bullard. Well, don't look so gloomy about things. I 
have news for you now. Your wife has returned. 

Major (earnestly). Thank God for that! 

Bullard. He had nothing to do with it. Her father 
kicked her out, and came pretty near shooting you in the 
bargain. 

Major. Where is she now ? 

Bullard. Asleep in her room. Wake her up! 

Major. The poor girl is tired and needs rest. 

Bullard. She's got no time for sleep now. Lutchenberg 
will be going home in a short time, so get her in line. (To 
Corey) Eh, Corey? 

Corey. Bullard's right. 

Major (eying them heenly). Nothing will induce her to 
take part in this robbery. She yielded far enough to get 
Lutchenberg infatuated with her, and then the good in that 
girl mastered the evil. Now that she is with me again, I 
am going to protect, and not degrade her! 

Bullard (confidently). Oh, you'll change your mind 
about that, Major. 

Major (rises and faces him). What makes you think so? 

Bullard. Because there is too much at stake. Don't you 
suppose that Corey and I have something to say about tJiis? 
Get your wife. 

Major. Leave her out of this. The game is between us 
three. 

Corey. We can do nothing without her. 

Bullard. What is on your mind now? 

Major. Simply this. I am going to follow the advice of a 
good woman. 

Bullard (to Corey). I told you so, Corey. He's going to 
quit us. (To the Major) We gave you the lead in every- 
thing, and now you'd throw us down! 

Corey. Let us keep together. Major. You've got the 



A Fight Against Fate. 19 

brain, and we've got the nerve. There's the proper com- 
bination, — you, Bullard and myself! 

BuLLARD. Your wife is the trick in this turn, and she's 
got to do her bit! {To Corey) Eh, Corey? 

Corey. Bullard s right ! 

Major {looking Bullard square in the eyes). What makes 
you crow so loud ? 

Bullard {impudently). Because I'm cock of the walk. 
The plan was to do Lutchenberg, but the combination will not 
work unless Mrs. Kemming turns the key, which you will 
force her to do. 

Major. So you. are cock of the walk. When I picked 
you and Corey out of the gutter, what were you then? 
Common pickpockets, that's what you were, feeding one day 
and starving the next, but never without the hand of the 
law on your shoulders. Well may Corey say you want a 
leader. I taught you both the game, put respectability on 
your backs, and diamonds in your shirt fronts. It was busi- 
ness, not pleasure, that bound us together, and our association 
is drawing to a close, boys. The key to this combination, is 
the key to my happiness, and I'm going to turn it in the 
right direction. 

Bullard {snapping his fingers). You're a crook, Major, 
and you can't live down the truth ! 

Corey. Stick to your pals. Major, and they'll stick to you ! 

Bullard. He's got to stick. 

Major. Do you think I'm afraid of you, Bullard? 

Bullard. Why did you leave the West? Does that scare 
you? 

Major {hnoching him down). No, you piker, a Westerner 
never fears a cur like you ! 

Bullard {pointing at him as he lies on the floor). I'll 
pay you back for this! {Rises and moves up l. c.) 

Corey {to Bullard). You're not game, Bullard. I 
wouldn't take a blow like that! 

Major {to Corey). Cut that out, or I'll treat you the 
same! 

Corey {springing towards him). Take that back. Major. 
I fought twenty battles in the ring, you'd stand no show 
with me! 

Major. So it's a case of who's the best man, eh ? {Moves 
to door L. and takes off his coat) Step into this room, you 
pup, where we can fight without disturbing my wife. 

[EXIT a L. 



20 A Fight Against Pate. 

Corey. You're game! I'll go with you! 
(Takes off his coat and follows the Major into the room off L. 
BuLLARD draws near the door and watches the conflict, 
showing his interest by actions, as the sound of blows, 
and an occasional groan reaches the audience. Corey is 
knocked in l. through the door, and stumbles against 

BuLLARD.) 

Corey. By the Eternal ! He can fight. 
(Bushes off L. i7ito the room again. The struggle is con- 
tinued. At length the Major comes in l. dragging 
Corey on his knees to c. Corey has a black eye, and 
shows other marks of the conflict. The Major has a 
streak of red across his forehead.) 

Major. Who is the best man now, Corey? 

Corey. You, Major, you licked me fair and square! 

ENTER Alice r. as the Major throws Corey aside^ her 
hands raised in fear. The Major embraces her. Corey 
rises and joins Bullard. 

[EXIT Corey and Bullard d. l. 
Alice. Major, what has happened? 
Major. Nothing serious, dear, I was just teaching them a 

lesson. , 1 ^ I /-vu 

Alice. And this is the life I have returned to! Oh, 

Major, what is to become of us both. (Moves down R.) ^ 
Major (following her). Your father did not forgive, 

Alice ^ 

Alice. He will never forgive me. I have returned to you 
because I was penniless and homeless. 

Major (in surprise). Penniless, Alice? You cannot say 
that. I've always given you plenty of money. 

Alice. But was it honest money? Answer me that ques- 
tion. Major. ,. , . AT 

Major (turning aside). I have never lied to you, Alice. 

Alice. I will give you credit for that. Major, but I repeat 
the question. Was it honest money? (Pleadingly) Was it. 
Major? . _ _ ^ , 

Major. No. (Turns to her) But it would not be wrong 
for you to use it. (Tenderly) You did not let yourself 
want for anything, Alice? , . i t u j 

Alice. I have gone hungry, that is what 1 have done, 
Major, with your money in my pocket. 

Major (embracing her quickly). My God! Alice. 



A Fight Against Fate. ai 

Alice. Oh, Major, let us struggle togetlier to be honest. 
I will do my share, if you will keep the promise you made 
when I became your wife! (Sits r. in tears.) 

Major (approaches her gently). Alice! (She loohs up) 
I swear by the memory of my mother that I will lead a good 
life from this hour. My greatest sin was in allowing you to 
enter my worthless life, but it seemed as if I could not live 
without you! (Kneels to her) Give me another chance, 
Alice, just one more chance ! (Bows his head on her knees in 
sorrow.) 

Alice (lays her hand gently on his head). Yes, Major, I 
will give you another chance! (Bullard is heard laughing 
loudly. Alice is disturbed.) But those men, Major, what 
of them? 

Major (rises). It is all over between us. They are to 
go their way, and I mine. 

Alice. Bullard said he had found a way to make me 
obedient, to make me do m^y f^are of the work. 

Major (glancing l. in anger). The dog. 

Alice (rises in fear). Could he have learned of your 
escape from that penitentiary? 

Major (more to himself). He said he was cock of the 
walk! (To Alice) Do not worry, dear, I have nothing to 
fear. Galloway is far off in the West. Bullard knows noth- 
ing about that. (Embracing her cheerfully) My first duty 
will be to win your father's forgiveness for you. 

Alice (in a cheerful tone). And perhaps we shall live in 
the old homestead some day, with father and Seth. (The 
door bell rings.) The bell! It may be some of my people, 
they know where to find me now. (Goes to speaJcing tube) 
Hello! who's there? (Pause) Yes, this is Mrs. Eemming. 
(Pause) Who? Seth! (To Major) It is Seth, our best 
friend! (Speaks through the tube) Come right up, Seth, 
the Major is here. (Waits near d. c.) 

Major (crossing down l.). Her old sweetheart. I wonder 
what he will have to say? 

ENTER Seth d. c. 

Seth. Alice. 

Alice (greeting him warmly). Seth! It is so good of you 
to come. (Leads him down c.) Let me introduce you to my 
husband. (To the Major) Major, this is Seth Rutherford, 
a lifelong friend of mine. 

Major (offering his hand). Will you take my hand, Mr. 
Rutherford ? 



gjj A Fight Against Fate. 

Seth {taking his hand in a firm clasp). With all my 

^TucE. Did you bring any news of my father, Seth? 

Seth No, we parted in anger. I followed you because I 
believed that you needed my protection. r x j^^ 

Alice The Major and I have come to a perfect under- 
standing Seth. I shall not leave him again 
"^i^^niLitating a little). I have something to say to 
your husband, Alice. Would you mmd leaving us alone for 

'""M^Jr ?« speak in.her presence, Mr. Eutherford, 
T conceal nothing from my wife. 

^ aTce It's alf right, Seth. ,1 know that it is something 
good, even though you don t wish me \%^^^J.i*- -r|1H^^ 

mIjor (offering a chair). Be seated, Mr. Ruthertord. 
(r"/f-m/^-/^ other) I can almost guess what is 
on your mind, and to make the matter easier for us both, I 
want you to let things go by their proper names. 

Seth. I wish to help you, Major Remmmg, but I must 
ask plain questions to make my object clear It is not my 
'ntentTon t^o interfere in a man^s private affairs, but I claim 
the right to protect a good woman from sm. 

Major. Do not torture me, Rutherford, I would give my 
miserable life to make her happy! (Bows his head.) 

Seth Will you lead an honest life? That will make her 

'TfiortiriS^^^^^ ^im). You, Rutherford, help 

"^Seth (rises). Yes, I! No man could win her love unless 
there was good in him somewhere. , . . • ^^ 

Major (taking his hand, and speaking m a very sincere 
i.;^) You are the first man that ever came to me with his 
heart in the right place. 

ENTER Alice r. 
Alice. Well, have you finished ? If so come in and have a 
little luncheon. (Moves down c.) . , 

Seth (to Alice). The Major and I are going to be 

^'' AucE.' He will find you the best brother that ever lived. 
(Takes his hand.) 

Seth. I will try to prove that, Alice. 

Alice (giving a hand to each). Come. 

Major. You dear girl. 



A Fight Against Fate. 23 

[EXIT Alice d. r. followed hy Major and Setii. ENTER 
BuLLARD and Corey l. as the door hell rings, 

BuLLARD. That may be Lutchenberg! (Goes to the speak- 
ing tube.) 

Corey (who has removed all signs of the conflict except the 
hlacJc eye). It's too early for him. 

BuLLARD (using the speaking tube). Hello! Who's there? 
(Pause) Oliver Budd, and Sue? I don't know you. 

Corey Get wise! It's the kid and Sue, the country rose- 
bud. 

BuLLARD. We don't want them here. 

Corey. They came to see the Major's wife. Invite them 
up. 

BuLLARD (using the speaking tube). Hello! Come up- 
stairs. (Turns to Corey) My, but you've got a pretty black 
eye! (Sits down r.) 

Corey. I only got what was coming to me. 

Bullard. You're welcome to it. 

ENTER Oliver and Sue d. c, dressed in loud colors, Oliver 
is intoxicated, and wears an extremely large red tie. 

Sue (leads Olr^er down c. in distress). Oliver's gone and 
made a holy show of me. He insisted that every saloon we 
passed was a soda fountain, and went inside to get a glass of 
sarsaparilla ! 

Oliver (in a drunken voice). That's all I had. Didn't I 
ask you to come with me? 

Sue. How could I go into a saloon? 

Oliver. Didn't T go in, and I came out, too. I don't get 
to New York every day, and I'm going to have a good time 
while I'm here. (To Corey) Can you direct me to a place 
where the chorus g^irls do high kicking? 

Sue (covering her face). Oliver, I'm ashamed of you. 
(Sits L.) 

Oliver (staggers R. and becomes seated behind Bullard). 
Durn me if I don't feel sleepy. (Falls asleep) 

Sue. We came to visit Alice, and he goes and gets drunk, 
and flirts with every girl he meets. (Crying) I wouldn't 
care, but it's up to me to get him home again, and I don't 
see how I'm going to do it. 

Corey (comes to her). Don't cry. Sue. I'll take care of 
him. 

Sue. I don't want Alice to see him in that condition. 
Where is she now? 



24 A Fight Against Fate. 

Corey. In the dining-room with the Major and a friend. 
I'll tell her you are here. (Moves) 

Sue. No, don't do that. When I'm gone, just say that 
I called with Oliver, and say that he had an attack of ap- 
pendicitis, and that I had to rush him off to the doctor. 

Corey. All right, Sue. (Pause) Do you know. Sue, I 
think a great deal about you. (Glances at Bullard, who nods 
his head for him to go on.) 

Sue. Do you? 

Corey (encouraged hy signs from Bullard, falls on his 
hnees). Eyes like twinkling electric lights. Teeth like the 
gleaming billiard ball. Form like the thoroughbred steed. 
Voice like the megaphone, I love thou. 

Sue (in a very sarcastic voice). Put on the brakes, you're 
losing a wheel ! (Rises and crosses c.) 

Corey (rising). Sue, what's the matter? 

Bullard (laughing). Corey, you didn't do it right. 

Oliver (wahing up). Who said I was full of cider. 
(Grabs Bullard around the neclc, and pulls him over on the 
floor) Did you say it? 

Sue (pulling Oliver to c). Please don't hurt him, Oliver. 

Bullard (rising). Better take him home, he's drunk. 

Oliy'er. Where did you get the funeral mark? 

Corey. Why, do you want one? 

Oliver. No, I'd like to steer clear of that place. (To 
Sue) Isn't it a peach ! 

Sue (pulling him). Come on home. 

Oliver. Not until I've seen Alice. 

Sue. You'll come home right no^v^! (Rushes him c. 

EXIT hoth c. d. Corey joins Bullard down r. Seth ap- 
pears at door r. and listens to their conversation) 

Bullard (looking at his watch). Why don't they get rid of 
their visitor. Lutchenberg may ring the bell any moment. 
This honest wife of the Major will do my bidding, mark my 
words ! 

Seth (moving to d. c). Good evening, gentlemen. 

Corey and Bullard. Good evening. 

Bullard (aside to Corey). He's going! 

Seth (aside). They are up to some game! 
ENTER Major and Alice d. r. and cross to Seth. 

Alice (talcing Seth's hand). Good-bye, Seth! 

Seth. I'll call again to-morrow, Alice. Good-bye, Major. 

Major. Good-bye, Seth! 



A Fight Against Fate. 25 

[EXIT Seth, after giving a quick glance at CoREY and 
Bollard. 

BuLLARD. Who is your friend, Major? 

Major. Seth Rutherford, one of the few really good men 
I have met. 

Bollard. The fellow who told us to go while our lives 
were safe, eh? 

(The door hell rings. They exchange quick glances. Bol- 
lard moves towards the telephone. Alice goes to the 
speaking tube. The door hell rings again.) 

Major. See who it is, Alice. 

Alice {using the speaking tuhe). Hello, who's there? 
(Pause) Mr. Lutchenberg! (Turns to the Major with a 
look of appeal.) 

Major (firmly). Tell him your husband is at home, and 
that he must not annoy you again. 

Bollard (in a threatening tone). Don't answer Lutchen- 
berg until you've listened to me. (Alice stops in fear. He 
uses the telephone) Hello! Give me 196 please. (Pause. 
The door hell rings again. To Alice) Wait, before you 
answer! (Using the telephone) Hello! Is this Sheriff Gal- 
loway? Good! Hold the wire, Galloway. (Looks at the 
Major and Alice.) 

Major {in fear, to Bollard). Is he in New York? (The 
door hell rings again.) 

Bollard. Yes, and unless she tells Lutchenberg to come 
upstairs, I'll tell Galloway where he can get you! 

Major. You traitor! 

Alice (in fear). Major, what shall I do? 

Major (firmly). Tell Lutchenberg to go, and let Galloway 
come. 

Alice. No, no, I can't give you up! 

Bollard (to Alice). Decide quick! (Uses the telephone) 
Hello, Galloway! (To Alice) After this job, Corey and I 
will never bother you or the Major again, and Galloway will 
never know. 

(The door hell rings again.) 

Alice (appeals to the Major). Major, decide for me. 

Major. I said I would never ask you to do wrong again, 
and will keep my word ! (Looking sternly at Bollard) Tell 
Lutchenberg to go, and let Galloway come. 

Bollard (at the telephone). Hello, Galloway! 



26 A Fight Against Fate. 

Alice (to Bollard). Stop! I will do it. 

BuLLARD (to Alice). Then tell him to come upstairs. 

Alice (using the speaking tube). You may come upstairs, 
Mr. Lutchenberg. (Looks at Bullard) 

BuLLARD (using the telephone). Hello, Galloway! 
(Pause) If I'm not too busy, Galloway, I'll drop down your 
way later in the evening. Good-bye. (Hangs up the re- 
ceiver, and turns to the Major and Alice.) 

Alice (placing hands on the Major's shoulders). You are 
trying to do right. Major, but they will not let you. 

Bullard. It will soon be over, then you can take the 
Major, and live as you please! (Moves with Corey to door 

Major (now alert and determined). No violence is to be 
used, and the money divided equally. 

Bullard. Agreed! [EXIT with Corey, d. r. 

Alice. My purpose was to protect you, not to rob Lut- 
chenberg ! 

Major. Trust me, Alice, T will return our share to Lut- 
chenberg. These men have me in their power for the present, 
or I would not let you make this sacrifice for me. God bless 
you for what you are doing. 

Alice. He is coming. Go! 

(The Major goes to room R., turning in the entrance, and 
showing hy his actions that he is willing to let her re- 
nounce the idea of saving him. She hids him go with a 
gesture.) [EXIT Major, d. r. 

Alice. It is to save him from prison. (Moves down L. 
and takes a seat at right of the table.) 

ENTER Lutchenberg, d. c, carrying a large bag. 

Lutchenberg. Good evening, Mrs. Hemming. (Moving 
down l.) I've vaited a long time for this invitation. (Takes 
seat at l. of table) Vy did you ever marry a travelling man, 
to be left all alone at nights? 

Alice (irifh suppressed emotion). Women make many 
mistakes in their lives, Mr. Lutchenberg. 

Lutchenberg. I'm sorry that I can only stay a few min- 
utes, Mrs. Hemming. There is a policeman vaiting for me 
down at the door, and 

Alice (interrupting him). A policeman, Mr. Lutchenberg? 
(Conceals her horror) 

Lutchenberg. Sure! I need somebody to protect me. 



A Fight Against Fate. 27 

This bag contains a fortune. (Reaches over and talces her 
hand) Vy you're as pale as a ghost. Vot is the matter? 

Alice (turning her face away). Nothing, Mr. Lutchen- 
berg. I do not feel well, that is all! 

LuTCHENBERG. You Stay in the house too much, my dear 
Mrs. Remming. Come to the theatre mit me this evening, 
and enjoy yourself a leetle. Your husband is avay, and vill 
never know. 

Alice (looking away from him). Are you not afraid to 
carry so much money with you, Mr. Lutchenberg? Do you 
see no risk in coming to see me? 

Lutchenberg. Vy should I ? You vouldn't rob me. Your 
face is too good and honest. Ah, I know who to trust, (/n 
confidence) I'll tell you vy I carry the money home mit me 
every night. The bank is being robbed systematically, and 
I'm afraid to leave too much ready cash over night, for fear 
they vould take it all. Ven ve locate the thief, vich I believe 
is von of the clerks, I can leave the money in the safe mit out 
fear, but for the present it is safer in my home. (Takes her 
hand again) Vot do you say to a nice evening together. 
Theatre, supper and music. I vould do anything to make 
the time pleasant for you vile your husband is on the road. 
(Waits a few moments for her to answer) Say vere you vill 
meet me to-night, and let me go now. I can't keep the officer 
vaiting. He might think I am being robbed and come after 
me. Come, give me your answer. 

Alice (rises with a sudden outburst of grief). I cannot 
do it. 

Lutchenberg. Vy not? Other vomen do. 

Alice. For God's sake go, Mr. Lutchenberg, before it is 
too late. (Sinks on her knees, covering her face with her 
hands) 

Lutchenberg (rises excited, with the hag in his hand). 
Vy! Is your husband coming? 

(Bullard, Corey and the Major ENTER r. quickly, and 
move to R. c. They are all masked, and Bullard points 
a revolver at Lutchenberg.) 
Bullard. Don't move or cry out, you are in the power of 
desperate men. 

(Seth appears in d. c. Takes a revolver from his pocket, and 
watches them unnoticed.) 
Lutchenberg (with courage). So, it's a plot to rob me, 
and that poor woman is the dupe. This money represents 



2^ A Fight Against Fate. 

the saving of hard-vorking men and vomen, and I'll fight for 
it mit every drop of my blood ! 

BuLLARD. Make one move, and you're a dead man. (To 
the Major and Corey) Bind him hand and foot. (They 
move to obey.) 

Seth (moves down c. yointing his revolver). I'll kill the 
man who lays a hand on him. This robbery shall not take 
place. 

(They turn in fear to look at the intruder. Lutchenberq 
taking advantage of the respite thus gained, smashes the 
lamp quickly with his hag, and continues calling " Po- 
lice! Police! " In the darkened room a desperate strug- 
gle is heard, and the forms are dimly seen moving about.) 

Bullard. Get the bag, Corey! 

Corey. I've got it! (The struggle continues a few min- 
utes, and he is heard again) Damnation! It's gone. 
Major. The police ! Alice, follow me ! 

[EXIT Major quickly r. with Bullard and Corey. 

(Centre door is swung open, and a light is thrown upon the 
scene. The policeman is revealed standing between Seth 
and Alice, with his hands on their shoulders. Seth is on 
the left of the officer, next to Lutchenberg, and is hold- 
ing the hag.) 

Seth (giving the hag to Lutchenberg). I did my duty. 
Sir, have pity on this poor girl. She is not to blame! 

Lutchenberg (after a struggle to decide). If that voman 
is your friend, I have no charge to make! Officer, let them 
go. 

[EXIT officer d. c. followed by Lutchenberg, who turns in 
the doorway to look at them. Alice falls, half fainting, 
against Seth.) 

Seth (placing his arms around her). You are not a thief 
yet, Alice, thank God, you are not a thief. 

(The curtain is almost down when Bullard, Corey and the 
Major creep guiltily into the room, and look at Seth and 
Alice.) 



CUETAIN. 



A Fight Against Fate. 39 



ACT m. 



Scene. — Sitting-room in the Summers' homestead. Next 
evening. Doors R. L. and c. of rear flat. Table and 
chairs down R. Lighted lamp on table. Chair down l. 
Gun against the wall near d. c. DISCOVERED Jud- 
SON seated at table r. with a letter from Alice in his 
hand. 

ENTER Sue d. l. quietly and stops to listen. 
JuDSON (reads in a broken voice). "Dear Eather. — For- 
give me and take me back. The man I married is an escaped 
convict. I cannot live with him and be a good woman. Seth 
will forgive me, I know. Will you not be kind to your un- 
happy child? Send Seth for me.— Alice." 

Sue (crosses and places her arm around his necJc). Ihe 
daughter's love is stronger than the father's. She will come 
back, and love you just the same. 

JuDSON (hopefully). Do you believe that, Sue? 

Sue. Consider the matter settled. Alice is coming home! 

(ENTER Oliver d. l. and holes at them. His head is band- 
aged and he looks very sick. Sits down l.) 

JuDSON (joyfully). You saw her yesterday. She said she 
would come. (Pause, then anxiously) Why, don't you an- 
swer. ^ . . . 

Sue (a little embarrassed). You see, it was this way. 

(Glances at Oli\^er) . ^ , 

Oliver (shaking his finger at her). Don't you give me 

away, or I'll eat up all your pie! 

Sue (to Oliver). You must have had a great time 
Oliver. I did. (Feels sickness coming on) lEXii d. l. 
Sue (moving h.). I wonder where he got his sporting 

blood? (Crying) And he was saving up to buy a new suit 

so that we could get married. ^ , x o 9 

JuDSON (looking up). What are you crying about, feue^ 

ENTER Oliver and sits down l. During Sue's recital he 
motions to her in vain to keep quiet. 
Sue (turns to look at Oliver, and in response to his mo- 
tions, sticks her tongue out at him) Bo you know what 
caused Oliver to be so sick all day? (Turns to Judson) 



30 A Fight Against Fate. 

Oliver. I had the earache. 

Sue (to Oliver). You will before I get through. (To 
Judson) He got drunk in New York yesterday, and that 
is why we could not see Alice. 

Judson (surprised). Oliver, drunk? 

Sue. I had to come home alone last night. 

Judson. But where was Oliver? 

Sue. I left him on a street corner fighting with a police- 
man. He didn't get home until 3.30 this morning. 

Olr^er (feeling his head). Won^t somebody get me a 
bromo seltzer? 

Sue. Don't you feel any regret? 

Oliver (ruhhing his stomach). I feel something, but I'm 
not sure what it is. 

Sue. What did the policeman do with you? 

Oliver. He let me go, when he found I was a democrat. 

Sue. How much money have you left? 

Oliver. Two cents! 

Sue. Where did you spend it all? 

Judson. Tell the truth. Oliver. What did you do with 
the twenty-five dollars, and where did you go? 

Oliver. Well, when Sue left me, the cop and I went and 
had a drink together, then T walked to Alice's house, and 
met the prize-fighter just as he was coming out. That's all ! 
(Turns away smiling at the recollection of the good time he 
had) He's a good fellow when you know him. 

Judson. I hope you didn't go into any bad places. 

Oliver (positively). Oh, no. There was a lot of ladies 
in one place, and you never met such nice people, come right 
up to you and ask you to buy them a drink. That place was 
all right. They give you a glass of (Starts to say heer, and 
checks himself) Sarsaparilla that big for a nickel. (Shows 
the size of the glass with his hands) 

Sue. What other places did you go to? 

Oliver. Well, we went to a burlesque show, but they put 
me out of the theatre for something. 

Sue. Put you out! 

Olu^er. Yes, but Corey and I went to the box ofiice and 
demanded our money back. (Pause) But we didn't get it. 

Sue. Paid for something you didn't get. 

Oliver. But we got even. Corey hit the man in the box 
office and gave him the nose bleed, (laughing) and he couldn't 
get out, as he was locked in. (A pain strikes him in the 
head suddenly, while he is laughing, and stops him.) 



A Fight Against Fate. 31 

Sue. Then what did you do? 

Oliver. We ran like wild with three policemen after us. 

Sue. Of course they caught you? What then? 

Oliver. We all went and had a drink. They were demo- 
crats too, and Corey belonged to the same club. Those 
New York cops are all right, if you are a democrat. 

JuDSON. Was this Corey with you all the time? 

Olh^er {with animation). You bet! 

JuDSON. You were fortunate to have enough left for train 
fare. 

Sue. How did you get home? 

Oliver {in tones of repentance) . On a local freight train. 

JuDSON. Oliver, you could never withstand the tempta- 
tions of city life. {Crosses to d. l. and turns to look at him) 
Came home on a freight train. 

[EXIT JuDSON, D. l., laughing. Followed hy Sue, in anger. 

Oliver {rises and sits down again with a groan, feeling his 
head). Gee, but I'm nervous. I wonder how Corey feels. 
(Crosses to the table slowly, and picks vp a .letter) Hello, 
here's a letter for me. {Reads the letter) "Mr. Oliver 
Budd. — Do not fail to be on hand Sunday morning for 
practice. In the afternoon we play the Cabbage Growers' 
Association, and you must pitch the game of your life. The 
contest is for five barrels of potatoes — the winning team to 
get the prize. We have decided to raise the price of admis- 
sion one cent, which will make admission for gentlemen 
three cents, ladies free, if they will come. The money taken 
in is to be donated to the fund which is being raised to build 
a new steeple on the church. It will be easy to build the 
steeple, if we can build the funds. Don't fail to bring along 
some strong thread and a needle, as the ball will need re- 
pairing before the game is over. The game will not be um- 
pired, as Sunday is a bad day, and swearing will not be al- 
lowed. We must win by fair means or foul to get those po- 
tatoes. — Obadiah Spuddles, Captain." 

ENTER Corey and Bullard d. c. and move down c. 

Corey. Hello, kid! How do you feel to-day? 
Oliver (shaking hands with him). Hello, Corey, how do 
you feel? 

Corey. Fine as silk. Did you get home all right? 

Oliver. Sure. Did you? 

Corey. Yes, but I was worried about you, kid. Didn't 



32 A Fight Against Pate. 

know whether you got home safe or not, so Bullard and 
I thought we'd run down here to make sure. 

Oliver. Glad to see you both. Sit down, Mr. Bullard. 

Bullard (sits down l.). By the way, Oliver, I hope the 
old gentleman won't try any more rifle practice. 

Corey (feeling Oliver's head). What's the matter with 
your skull, kid ? You're not used to having a good time. 
(Corey and Bullard move np stage, Corey tahes a flash of 
whiskey out of his pocket. Drinks from the flask, and 
hands it to Bullard, luho drinks also.) 

ENTER Sue d. l., and watches them unseen. 

Olr'er. Sue wouldn't give me a drop of anything. She's a 
darn crank. 

Corey. If you love the girl, why don't you marry her? 

Oliver. Got no money. She'd have to live on Quaker 
Oats if she married me. 

Corey. I wish she would marry me. 

Oliver. You can have her. 

SvE (advancing). You haven't got me yet, Mr. Oliver 
Buddt (They turn quickly) What are you drinking? 

Corey. The kid was drunk last night, and he wanted a 
bracer bad. 

(Oliver kicks him slyly to make him keep quiet.) 

Sue. I wash my hands of him entirely. He is a disgrace 
to this community. (Sits down R.) 

Oliver (to Corey). Go on, talk to her, and try to square 
me. 

Corey. Talk to Sue. With pleasure. (Gets a chair and 
sits close to Sue. Bullard rises and goes to Oliver up stage. 
Olfvtr keeps an eye on the actions of Sue and Corey, and 
gives signs of jealousy during the conversation.) 

Sue (greeting Corey warmly). I'm so glad to see you 
again. 

Corey (fondling her hand). I couldn't keep away from 
you. Sue. Say, do I stand any show? The kid's all right, 
but he couldn't support a couple of canary birds. May be he 
could feed you on Quaker Oats. You'll die an old maid if 
you wait for him. 

Sue. Are you sure that you could support a wife ? 

Corey (letting the words slip). Sure, I've done it before! 
(Claps his hand on his mouth quickly.) 

Sue (in surprise). What! you've supported a wife before? 
(Tries to pull away.) 



A Fight Against Fate. 33 

Corey {recovering himself). No, it was my brothers 
wife, I meant. He didn't use her right and I thought that it 
was my duty to support her and the baby. 

Sue. You told me that you had neither brother nor sister. 

Corey (confused). Did I? That's right. (With confi- 
dence) I meant my brother-in-law. (Becomes confused, 
realizing that he has hlundered again.) 
^ Sue (drawing aivay). If you have neither brother nor 
sister how could it be your brother-in-law ? (Rises and draws 
away from him.) 

Corey (to himself, disgusted). I'm a wise one. (Corey 
rises. Oliver comes down c. Sue meets him and slaps his 
face.) 

Sue. Live on Quaker Oats, will I? Not much ! 

[EXIT D. L. 
(Corey meets Oliver c.) 

Oliver. I told you to square me, not queer me! 

[EXIT D. L. 

Bullard (to Corey). Lying is an art, my boy, at which 
you would never make a success. 

Corey. What is your next move? 

Bullard. That is a sensible question. Our next move 
will be to separate the Major and his wife. Her father must 
take her back and he must come with us. 

Corey. To plan the deals? 

Bullard. Exactly. With the Major as a leader, the game 
is sure. Without him, we could scarcely make a living, and 
keep clear of the police. 

Corey. Why did you bring Galloway down here? 

Bullard. To block the Major's little game. To-night 
he means to give us the slip. (Laughing softly) If we let 
him. (Sternly) Corey, follow my lead without questiom. 
Galloway is getting suspicious and playing his game, too. If 
the Major refuses to keep his agreement with us, I can hold 
this sheriff off no longer. 

Corey. Won't he recognize the Major if he sees him ? 

Bullard. No, in the West the Major wore a mustache and 
beard, and lived under an assumed name. 

(They move to c. d. arid Corey loohs off r.) 

Corey. Hello, here comes that fellow they call Seth. 

Bullard. We had better keep out of his way for the 
present. [EXIT Both d. c. 

ENTEK Sue, l. 



^4 A Fight Against Fate. 

Sue. Why, they have gone. I must go and tell Oliver. 

[EXIT D. L. 

ENTER Seth, d. c. and walks slowly to the talle, where he 
sits in deep thought. 

Seth. I wonder how it will all end? 

ENTER JuDSON, D. L. and crosses to c. 

JuDSON. Seth ! 

^^iB. {looking up) . Judson! {Approaches him.) 

JuDSON {placing his hand on Seth's shoulder). She can 
never be anything to yon, Seth, but for the sake of old times, 
help me to save her from that scoundrel. 

Seth {turns away. Aside). I told Alice I would plead 
for him, and I will keep my word. 

Judson {in fear). Seth, where is Alice? Did you not 
follow her ? 

Seth. She is with her husband. 

ENTER Major and Alice d. c. and move down a little. 

Judson {in anger). She returned to— him! 

Seth. Yes, because in that man there is some good, and 
I want you to forgive him as she has done. 

Judson. I will take my girl back, but that man must not 
come here. 

Seth. She will never return unless you welcome both. 

Judson {sternly). Is that my girl's choice? {Moves L.) 

Alice {moves down c). Father! 

Judson {embracing her quickly). Alice! I knew you 
would come back to me. {Observes the Major) But I did 
not think you would return with that man. {Moves l. again) 

(Major moves down and places his arm around Alice.) 

Alice. Father, let your judgment be merciful, and give 
my husband a chance to speak for himself. He has come to 
do his duty for my sake. {Lays her head on the Majors 
hreast) Poor Major. , , . , , 

Judson. If he would do his duty, let him go and leave 
you in peace. 

Alice. My heart will follow him no matter where he goes. 
Seth. Spoken like a true woman. 

Major {to Judson). Whatever my faults may be, Mr. 
Summers, I love your daughter, and I come to you as a man, 
knowing my own unworthiness, to ask you to take her back. 
I thought that I could bury the past, with the clear sun of a 
woman's devotion to guide my steps. But a man s sins will 



A Fight Against Fate. 35 

find him out, as they have found me. Give me a chance for 
redemption, and protect my little girl, until I return to claim 
her. 

JuDSON. One question, Mr. Remming. Wliat right have 
you to the title of Major? 

Major. A soldier's right, as the records of the War De- 
partment will prove. After the war I drifted back to the old 
life, and evil companions. From my infancy I was cast 
among men who knew no law of God or man. When I met 
Alice, she brought the good in me to the surface, but I had 
gone too far. 

Alice. Don't say that, Major. Fate is to blame, for any- 
thing you have done. 

Major {embracing her tenderly). Don't ask her to for- 
get me entirely, for the thought of her will give me strength 
to be a better man. 

JuDSON. What you are doing. Major Remming, is at 
least the act of a man. I will not attempt to judge you by 
your past life, but will you swear that henceforth you will 
live as all honest men live, trusting in your fellow man, and 
in God! 

Major. I swear that every act of my future life will be 
clean and honorable, for her sake. I am going far away, to 
start in right. 

JuDSON {advances). I believe you, and your place shall be 
by her side. {Clasps his hand) Make this your home, and 
I will help you to do right. 

(BuLLARD and Corey appear in d. c. and move doivn a little.) 

BuLLARD. Well, are you going to keep us waiting all day ? 
Alice {looks pleadingly at Seth). Seth, what shall we do? 

(The Major listens with a set, determined face.) 

Seth. Bullard, the Major is not going back to New York 
to-night. 

Bullard. And why not? 

Seth. Because he is going to make his home with us. 

Bullard. Oh, oh! A sort of prodigal son. {To Corey) 
Eh, Corey? 

Major {facing Bullard c). Bullard, I told you that we 
would have to part. Now go your way, and let me go mine ! 

Bullard. You are coming back with us. Major. Country 
life would not agi-ee with you, you'd tire of it in less than a 
week, and then you might not find Corey and me. 



36 A Fight Against Fate* 

Major. I have no further use for you or Corey, so do not 
miss your train on my account. 

Corey. The agreement was to stand together, Major. 

BuLLARD. Let me deal with him, Corey. {To the Major) 
So you are determined to dissolve the partnership without 
our consent, eh ? 

Major. This is no place for an argument. Go! {Goes to 
Alice, and moves with her to the table. Seth moves up L. c.) 

Alice. Bullard, is there no manhood in you! 

JuDSON. Alice, what power has this man over your hus- 
band? 

Bullard {shaking his finger at the Major). So youM turn 
us out, eh ! Well, I'll give your pedigree to your dear father- 
in-law for you. 

JuDSON. I want no information from you, sir. Leave my 
house ! 

Bullard. Not until I've told you what he is! 

Corey. Give him another chance. 

Bullard {to the Major). Either come with Corey and 
me, or go with Galloway, who is waiting outside. Now 
choose ! 

Major {in fear). Galloway! {Sinhs in the chair in de- 
spair. Alice sinks at his knees.) 

Alice. Major ! 

Bullard. Well, Major, which is it to be? Corey and me, 
or Galloway? {Train is heard approaching) Here comes 
the train. Decide quick ! 

Seth {facing Bullard). You cur. When a man is driven 
to the wall, give him a chance. 

Bullard {to Seth). This is not your affair. 

Seth. He is trying to lead a good life, and you are cling- 
ing to his heels like a pair of vultures, afraid that you will 
starve without his brain to lead you. 

{Train is heard getting nearer.) 

Bullard {in anger). He's wanted by the law, and by God 
I'll give him up! {Goes to d. c. and calls out) Ho! Gallo- 
way ! Galloway ! 

Seth follows him and picks up rifle which is resting against 
the wall, near the door. With a swift movement, he 
places the barrel against Bullard's side. Judson gets 
between Corey aiid the door, on left.) 

Galloway {from vnthout). Hello! hello! Here comes the 
train. 



A Fight Against Fate. 37 

Seth {with determination). Tell him to take that train! 
{Train is heard to stop nearby.) 

(BuLLARD loohs down at the rifle, and then at Seth, in whose 
eyes and manner he reads the determination to hill if he 
refuses to obey.) 

Bollard {in terror). Take the train for New York, Gallo- 
way. I will meet you at the hotel to-night. 

Galloway {from without). All right, Bullard. Good-bye. 

{The sound of a train starting is heard. Seth and Bullard 
hold their positions. Corey makes a move towards the 
door, and is confronted by Judson.) 

Corey {to Bullard). Get the Sheriff. Stand by the girl! 

Judson. I will stand by the girl. {Holding Corey by the 
shoulders) You do not leave this room. 

Corey {raising his hand). Get out of my way. 

Alice {from her position points a revolver quickly at 
Corey) Corey, raise your hand against my father at your 
peril ! 

{The train is heard departing as the curtain descends.) 

CURTAIN. 



ACT IV. 

Scene. — Same as in Act TIL Three months later, Sunday 
morning. The table is laid for breakfast. A church is 
supposed to be nearby; the choir is at early practice and 
organ and voices are heard off stage singing the first 
verse of " Lead Kindly Light." 

ENTER Oliver c. d. and stops listening to the hymn until 

the end. 

Oliver. They might have waited until people got out of 
bed, and not reminded them of their sins at this hour of the 
morning. {Moves toumrds the table) I wonder what Sue 
will say when she finds the coffee made, and breakfast all 
ready. 

ENTER Seth d. c. 



Seth. Good morning, Oliver. 
Oliver. Hello, Seth! Just got up? 



38 A Fight Against Fate. 

Seth {going down c). Yes, just got up. ^ ^ 

Oliver. We play the Cabbage Growers' Association again 
to-day. 

Seth. Oliver, Christians go to church on Sunday. So 
should you. 

Oliver. It's the best nine that stands the show, even 
there. 

Seth. How do you expect to win Sue, unless you try to be 
good? 

Oliver. If a fellow wants to be good, he doesn't have to 
try very hard. (Rises) I don't like country life, Seth, and 
I'm going to leave the farm. 

Seth. When do you expect to go, Oliver? 

Olrt^r. Possibly in a few days. I want to tell you a 
secret, Seth. I'm going with one of the big leagues. The 
manager tried me out, and he said he would soon develop 
me into a first-class player. 

Seth (shal-ing his liand). I thought they would get you 
before long! (Regretfully) But the old home will be lone- 
some without us. I, too, am going away. 

Oliver. But what will Alice say? She will be lonely 
without you. 

Seth. She is happy with the Major, and will soon forget 
me. 

(Sue is heard ojf l.) 

Oliver. Here comes Sue. Let's hide and watch her sur- 
prise. (Slaps him on the hack) Brace up, Seth, the woman 
that a man loses, is never so good but what there is another 
just as good to take her place. (They pass out through c. D. 
and watch Sue from the outside.) 

ENTER Sue d. l. 

Sue. If I didn't get up folks around here would starve, 
and I've got to eat myself, as well (sits at the table) or 
perhaps I wouldn't get up so early. 

Olr'ER (in the doorumy l.). Boo! 

Sue (rises in fear). What was that? (Discovers the table 
ready for breakfast) What on earth does this all mean, 
breakfast ready. 

Olr'er. Boo! (Comes down c.) 

ENTER Seth d. l. and sits down l. 
Sue. So it was you. 



A Fight Against Fate. 39 

Oliver. Oh, I was up at four o'clock. 

Sue. Well, when you get up at four on Sunday morning, 
something is going to happen. 

Oliver. I want to play ball to-day, Sue, to raise funds for 
the new steeple. When I say '' All in favor of letting me 
play ball," will you stand by me? 

Sue. For the new steeple, yes. 

Seth. Good morning, Sue. 

Sue. Good morning, Seth. 

Seth (to Oliver). Did you tell her the news, Oliver? 

Sue. What news? 

Seth. Oliver is going to leave the farm. Sue. He has 
signed a contract to go with one of the big teams in the city. 

Oliver. Sue doesn't know what big team means. 

Sue. Yes, I do. You're going to drive one of those big 
brewery wagons that we saw in the city. If I couldn't get 
a better job than that, I'd stay on the farm. 

Olwer. Sue, I told you that I'd get a chance some day 
with one of the big baseball teams, and I've got it at last. 

Sue. Good for Oliver! {Emhraces him.) 

Oliver. Then you won't mind me going, Sue? 

Sue. No, but you won't forget me, Oliver? 

Oliver {embracing her). You know I won't forget you. 
Sue! 

Sue. Well, ring the bell for breakfast. (She busies her- 
self about the table. To Seth) Are you hungry, Seth? 

Seth. No, I had my breakfast some time ago. 

Olh^er. Well, have another. (Rings the hell which he 
has ial-en from the table) I never miss a meal any more 
than I do a ball. (Sits at thp table facing the audience.) 

Sue (sits at the table). High ball or base ball? 

Oliver. Baseball. 

ENTER JuDsoN D. l. 

JuDSON. Good morning, my children. (Sits at the table) 

Olh^er (aside). Children! He doesn't know I've signed 
with the league. 

JuDSON (observes Seth), Good morning, Seth, come and 
sit at the table, boy. 

Seth. I've had my breakfast, Judson, thank you. 

Oliver. Come on, Seth, try my coffee. 
ENTER Alice d. l. 

Alice. Good morning everybody. (Observes Seth, and 
greets him with both hands) Good morning, Seth. 



40 A Fight Against Fate. 

Seth. Good morning, Mrs. Kemming. 

Alice (with a look of reproach). Alice, you mean. Always 
Alice to you, Seth. 

JuDSON. Bring him to the table, Alice. 

Alice (pulling him). Come, Seth, breakfast is ready. 

Seth. Well, if you insist. (Goes to table with Alice, and 
hecomes seated) I'll try some of Oliver's coffee. 

Oliver. You'll never regret it. 

JuDSON. Where is the Major? He is usually the first at 
the table. 

ENTER Major, d. l. 

Major. Good morning, everybody. (ShaTcing hands with 
Seth) Good morning, Seth. (Sits next to Alice. They 
proceed with the breakfast.) 

JuDSON (pulling a wry face). This coffee is strong enough 
to kill a horse. 

Oliver. I think it is fine. Another cup, please. 

Sue. Good heavens. Look at the eggs, they are just like 
bullets! 

Oliver. That's right, kick! A fellow tries to be chief 
cook and bottle washer, and then you find fault. 

JuDSON. And the sausage is burned to a crisp! 

Sue. Don't blame me. Oliver got the breakfast ready this 
morning. 

All. Oliver did! ^ , i i 

Olfv'ER. Yes, Oliver did. I was up at four o clock. 

All. Four o'clock. 

Oliver. Yes, four o'clock. All those in favor of letting 
me play ball to-day will kindly raise their hands ! 

(They all raise their hands, except Judson, who loohs at them 
in surprise.) 

Oliver. The vote is unanimous. Oliver plays ball. (Falls 
asleep with a sausage in his mouth.) _ _ 

Judson. This looks more like a debating society, than a 
quiet family breakfast. , i ♦ 

Seth. This doughnut is as hard as a door-knob ! 

Sue. Look at him. Asleep with a sausage m his mouth. 
Oliver, wake up. \ rru* 

Olwer (wakes and finishes eahng the sausage), liiis 
sausage tastes more like a cinder, one of those things you 
get in your eye from a locomotive. (Rises) Excuse me. 
I'm through. f^XIT D. R. 



A Fight Against Fate. 41 

JuDSON. This looks more like an assortment of hardware, 
than a breakfast. 

Sue {crying). WelJ, he did his best, and you're all picking 
on him. I don't think it's fair. 

JuDSON {holding up a sausage with his fork). Look at this 
sausage ! 

Sue. Well, you don't have to eat it! 

JuDSON {holding up a hiscuit). And look at these biscuits, 
more like clinkers from a furnace! {Laughing) It's all 
right, Sue. Oliver is a good boy, and his breakfast was 
quite a novelty. {Rises) Now I must go and look over the 
farm, to see that everything is all right. 

{They all rise. Sue and Alice clear the table and carry the 
things into inner room. Seth sits l. and lights his pipe. 
The Major moves to c. and lights a cigar. Judson looks 
at him a few moments and then goes to him.) 

Judson. Major, I have something of importance to say 
to you this morning. I want you to accept a position of trust 
in the Farmer's Bank. Our present cashier will leave us in 
a few days, and Seth and I have decided that you are the 
man for the place. 

Ma.tor {tol-en hy surprise). You would trust me with that 
position, knowing how I have lived in the past? No! No, 
Mr. Summers! I am not ungrateful enough to let you do 
that for me. 

(Corey and Bullard appear in d. c.^ listen a few moments, 
and then withdraw unseen.) 

Judson. Regret is the indication of a man's better nature, 
but it is courage that wins, my boy. You have entered a new 
life, with true friends by your side, and they will not let you 
fall again. {Goes up stage) I must be going now. Seth 
will tell you anything you wish to know. [EXIT d. c. 

Major. Seth, you have done this for me. But something 
tells me that my happiness will be short-lived. The old score 
is against me. {8its r.) 

(Seth crosses to c. Alice appears in doorway l. and listens 
a few moments.) 

Seth. Don't give way to your thoughts. Major. Think 
of Alice. 

Alice {moves to Seth). Talking about me, Seth? Now 
what were you saying? 



4« A Fight Agfaiiist Fate. 

Seth. Something that will please you. The Major is to 
be the new cashier in the Farmers Bank. Your father and 
I are the biggest depositors, you know, and we arranged the 
matter without any trouble. 

Alice. You dear Seth! (Runs to the Major, and places 
her arms around his neck-) Major, I'm so glad to hear this. 
I will drive you to the village every morning and drive you 
home in the evening. (Returns to Seth and takes his hand.) 

Seth. I wish I could do more for you, Alice. When I am 
far away from here, I shall think of the Major and you every 
day, and I know that you will both remember me just for old 
time's sake. , 

Alice (looking into his eyes). Seth. You are not going 
to leave us? 

Seth. Yes, Alice, I'm going out West. There is nothing 
here to keep me now. The railroad company bought nearly 
all my land, and paid me a fortune for it, and you see I must 
go somewhere, and out there I can work and — (Turns 
axuay.) 

Alice (crosses to the Major and lays her head on his 
shoulder in grief). Major, Seth is going away! 

Seth (aside). I must, it is better, far better that I should. 
(Goes to D. L. luhere he lingers gazing at Alice.) 

Major (embraces her tenderly. Aside). He loves her, too, 
better than his life! (The organ is heard playing again, 
off stage, as if in distance. To Alice) The organist is 
playing in the church. It is always the same hymn. 

Alice. He is playing "Lead, Kindly Light." Shall I 
recite it for you. Major? (Sits on hassock at his feet.) 

Major. Yes, do. 

Alice (recites the Hymn). 

Lead, kindly Light, amid th' encircling gloom 

Lead Thou me on; 
The night is dark, and T am far from home, 

Lead Thou me on. 
Keep Thou my feet ; I do not ask to see 
The distant scene ; one step enough for me. 

I was not ever thus, nor prayed that Thou 

Shouldst lead me on; 
I loved to choose and see my path ; but now 

Lead Thou me on. 
I loved the garish day, and, spite of fears. 
Pride ruled my will ; remember not past years ! 



A Fight Against Fate. 43 

So long Thy power has blessed me, sure it still 

Will lead me on; 

O'er moor and fen, o'er crag and torrent, till 

The night is gone; 
And with the morn those angel faces smile 
Which I have loved long since, and lost awhile. 

(Note. — Instead of reciting the hymn, Alice may pause 
until the organist commences to play for the second verse, 
and then sing the above softly to the organs accompani- 
ment.) 

Alice (speaks). Oh! That dear old organist — his old 
age is so full of sorrow. 

Major. Why should he be sorrowful? 

Alice. Well, he is seventy-two years old, and alone in the 
world. Years ago, long before I was born, the old man lost 
his only son. The story is long since forgotten, Major, but 
the old man told it to me when I was a child, and it is fresh 
in my memory to-day. His boy ran away from home when he 
was eighteen and two years later he returned to his father, a 
fugitive from justice, but thoroughly repentant for his sins. 
For a few months everything went well, the boy led a good 
life, but one day an ofBcer came to arrest him. He sprang 
on a horse and tried to escape, but he had not gone more than 
a hundred yards when the horse stumbled and fell. The boy 
was seriously injured, and died in his father's arms, while the 
officer was standing near. 

Major. For every sin there is a punishment, and that 
poor boy paid the debt in full. 

Alice (rises and caresses him). I should not have told 
you that story, forgive me. (Pulling him gently) Come, let 
us go to Seth. 

(Seth draws off l. unseen.) 

Major (places his arm around her and leads her l.). Seth 
is the only brother I ever knew, and I love him dearly. 

[EXIT hoth l. 

ENTEK Bullard and Corey, c. e., and move down c. 

Corey. Say, we're both liable to get pinched, prowling 
around a house like this. 

EuLLARD. Corey, I'm getting tired of you. 

Corey. Well, when a man uses me right, I want to do 
the same by him. 



44 A Fight Against Fate. 

BuLLARD. Then get back to New York, and I'll work 
alone. 

Corey. Not on your life, Bullard, if there's money in 
sight I want my share ! 

BuLLARD. Then keep your mouth shut and follow my lead. 

Corey. If I do I'll land in Sing Sing. You're too dirty 
for me, Bullard, and I'll work for a dollar a day before I'll 
stick to you much longer. 

Bullard. We used the Major all right, didn't we? I 
threw the sheriff off his track, and sent him back West. 

Corey. And this fellow Seth paid us well to do it! My 
head may be thick, Bullard, but it's not always the head, it's 
the heart that tells a man whether he's doing right or not. 
(Places his hand over his heart) And there's something here 
that's making me hate you ! 

Bullard (cautiously). You wouldn't squeal on me, Corey, 
would you? 

Corey. Not if you deal square with me, but you are not on 
the level, Bullard. Why didn't you tell me that Galloway 
was here? 

Bullard. I didn't know. 

Corey. You lie! I saw you with him yesterday, and I 
heard him tell you to your face that he could get along with- 
out the help of a traitor like you. 

Bullard. Galloway played a trick on us. Instead of 
going West, he got off the train a few miles from New York, 
and has been looking for his man ever since. When we get 
more money from Seth, you can tip the Major off, if you 
wish. That's fair, isn't it? 

Corey. All right, that goes! 

ENTER Seth l. looking at them in surprise, 

Seth. What are you doing here ? Did I not pay you both 
to keep away? 

(They move R. Seth moves to c.) 

Bullard (aside to Corey). Follow my lead. (To Seth) 
Yes, you did, and as far as Galloway is concerned we've kept 
our word. But we were unfortunate with the money you 
gave to us, and if you'll give us one thousand more, (The 
Major appears in doorway l. and listens.) Corey and I will 
go as far away as Seattle. 

Seth. And if I refuse to pay you hush money a second 
time, what will you do? 



A Figfht Against Fate. 45 

BuLLARi). Claim the reward oltercd for the Major's arrest; 
you love his wife, and to save her, you will save him. Major 
Hemming, alias John Seabury, escaped convict, that's his 
pedigree ! 

Seth. I paid you one thousand on your promise to let the 
Major and his wife live in peace. How do I know that you 
will not break faith with me again? 

BuLLARD. We'll take the first train for Seattle, and send 
you a telegram the moment we arrive there, then you would 
be sure of us keeping faith with you. 

Seth {to Corey). Can I trust you? 

(BuLLARD and Corey have hy this time taken positions at the 

table.) 

Corey (hangs his fist on the table). Count me out of this, 
Bullard. That fellow is too good a guy for me to rub it in ! 

BuLLARD (sneeringly) . You won't take the money, eh? 
Well, I will. (To Seth) Give us your check, and you'll 
never hear from us again. Make it payable to G. L. Bullard ! 

Seth (mahes out the check, and hands it to Bullard). 
The check is made payable to G. L. Bullard and Kobert 
Corey, on demand. 

Bullard. That is made out wrong! 

Seth. It is made out right. Stick to Bullard, Corey, 
until the check is cashed. I intend that you shall get your 
share. 

Bullard. Corey can trust me ! 

Corey. Just as long as I've got my eyes on you, that's 
all. 

Major (crosses and points revolver at Bullard's head). 
Return that check! (Bullard turns to him in fear) or I will 
send a bullet crashing through your cowardly brain! 

(They eye each other keenly, and Bullard slowly returns the 
check to Seth, as the Major advances until his revolver 
is close to Bullard's lead.) 

Corey (in fear). Don't kill him. 

Major. Now go, you cur. My finger is pressing gradually 
on the trigger. Forty seconds' delay will cost you your life. 
(Bullard back to c. d. witli his hands raised as if to ward off 
the shot.) I understand now why I have been left in peace 
for these three months. My protection has been paid for, by 
the best fellow on earth. 

Bullard (in terror). Don't shoot! [EXIT quickly d. c. 



46 A Fight Against Fate. 

Major (to Corey). Corey, there is some good in you, but 
if you stick to Bullard, he will betray you as he has betrayed 
me. Now go! 

Corey (moves to d. c. with homed head, and turns to looTc at 
the Major.) Major, get away as quick as you can. Galloway 
is here! [EXIT d. c. 

Seth (meets the Major c). Why didn't you let me pay 
those men. I was trying to protect you ! 

Major. God bless you, Seth, for all you have done for me! 
When I am gone, make Alice your wife, for I will never 
return to make her unhappy again. 

Seth. Can't I do something for you, Major? 

Major (offerinr his hand). Yes, just call me brother once 
again before I go! 

Seth (clasping his hand). Brother! 

Major (takes hat and long coat from clothes rack, and puts 
them on). The old life has claimed me, Seth. 

ENTEK Alice l. 

Major. But they will not get me without a struggle! It 
is the Major Remming of old they are dealing with now, and 
he will fight to the finish! (Embraces Alice, who advances 
to him.) 

Alice (in fear). Major! What has happened? 

Major. Galloway is here. I must escape at once! 
(Tenderly) Good-bye, dear wife, try to think kindly of your 
worthless husband, and forgive him if you can. Only God 
knows what it will cost me to give up this, the only real 
happiness I ever knew! 

(Seth moves to c. d. and looks off r.) 

Alice (clings to the Major, crying). Your joys and 
sorrows are mine. I will go with you to the end of the world ! 

Seth. Major, the Sheriff is coming. My horse is in the 
stable already saddled. Once on his back, he would soon 
carry you miles away. 

Major. Quick, Seth! Change with me! (They change 
hats and coats quickly) Now sit at the table, and you, Alice, 
gain five minutes' time for me! (Embracing her) Good- 
bye, dear wife, good-bye, forever! ^ fEXIT d. l. 

Alice (sobbing). Oh, God! this is cruel, this is cruel! 

Seth. Alice, we must help him to escape. 

Alice (with energy). Yes, yes, sit at the table, Seth, and 
I will make them believe that it is he ! 



A Fight Against Fate. 47 

(Seth becomes seated with his head on the table, and his 
arms concealing his face as much as possible, Alice 
hneels, clinging to him in grief. Sue ENTERS d. l. and 
moves down l. with a startled expression on her face. 
Galloway ENTERS d. c. followed by Bullard and 
Corey.) 
Bullard {pointing at Seth). There is your man, Sheriff! 

(Galloway advances towards the table.) 

Alice {rising and raising her head). Stop, Sheriff! Be- 
fore you take my husband back to prison, let me have a few 
minutes' conversation with him. I may never see him again. 

Galloway. I'm very sorry for you, lady, and you can talk 
just as long as you wish. It may be that your husband is 
innocent, but when he escaped from the penitentiary, he 
fastened the guilt upon himself. {Goes to Bullard and 
Corey up stage.) 

Alice. Thank you, Sheriff. {Turns to Seth, and car- 
resses him) Poor Major, what have you done in life that 
makes you an outcast, hunted by the law, with a price on your 
head. The woman you love, and who loves you in return, 
will never forget you, nor judge by any verdict of a cruel 
and unjust world. When you made me your wife, I believed 
in your goodness, and I believe in it now. If you are guilty 
as the law claims, then retribution must be your lot, but who 
should know your innermost secrets better than your own 
wife? To whom could you confide, if not in her? There is 
a code of honor among men that often causes the innocent to 
suffer? That code of honor has kept you silent, when a few 
words might have set you free. Not that your life has been 
blameless, but you are suffering now for another's crime, not 
your own. Major, not your own! {Caresses him.) 

Bullard (to Galloway). This is getting tiresome. Why 
don't you get your man ? 

Galloway. You keep quiet. That poor girl shall have her 
say. 

Bullard {moves down a little). Well, we don't want an 
oration, this isn't a funeral. 

Alice {to Seth). Where is the happiness of yesterday, 
our plans for the future — all ended now. Major, but if I 
could share your lot with you, I would gladly do so, even in a 
prison cell. 

Bullard {moves down c). I'm getting even for the blow 
he struck me. Let the Sheriff take him. 



48 A Fight Against Fate. 

Alice (rises and faces Bullard). Yes, you are getting 
even, Bullard, but you shall know what I think of you before 
you go. It is man's inhumanity to man that makes countless 
thousands mourn. It is reptiles like you who strike the hand 
that gives them bread, but you are the lowest of them all. 
When the Major picked you out of the gutter you were almost 
starving, and you followed him like a whining dog, glad of 
any kind of a master, who would guard and feed your worth- 
less body. And this is how you repay him — betraying him to 
the police, because he tried to lead an honest life, because 
without his brain to lead you, you will drift back to the 
gutter, and starve in your evil career, as you did before you 
met him, you Judas! you Judas! 

Bullard (raising his hand threateningly'). Oh! You! 

Corey (moves doivn quicJcly and swings him aside). Quit 
that, or I'll break every bone in your body. She's right, he 
did pick us out of the gutter. 

(Alice returns to Seth, and leans over him.) 

Bullard (with a sneering laugh). Well, he is sorry for it 
now! (Goes to table, and after looking at Seth a few mo- 
ments, discovers the deception. With a cry of anger pulls 
Seth hack on the chair, and knocl-s his hat off.) 

Alice. You are too late, Bullard ! 

Bullard. That is not the man ! He has escaped ! (They 
meet quicJcly c.) [Seth EXIT ivith Alice d. l. 

Galloway. He may be hiding in one of the rooms ! 

Bullard. I'll soon find out! 

(Dashes quicJcly into room R. and reappears almost instantly 
struggling with Oliver, ivho is in his night-shirt, wJiich 
is half torn off, revealing him in a suit of loudly colored 
underwear. Oliver rushes about in wild excitement. 
Sheriff runs off quicJcly through D. c. followed hy 
Corey.) 

ENTER Sue c. 

Oliver (in great excitement). What's the matter? What's 
the matter? (MaJces a rusJi at Bullard, grahs him hy the 
collar, and JcicJcs him out through D. c, then comes down to 
Sue.) What's the matter? What's the matter? 

Sue (covering Jier face witli her hands). Oliver, are you 
not ashamed of yourself ? Dress yourself, the police are after 
the Major. 

Oliver. What for? What for? 



A Fight Against Fate. 49 

Sue (covering her face). Put something on. Put some- 
thing on. 
(Olwer rushes into room r. and comes out again almost 

immediately, carrying his pants and a woman's hat and 

coat, still greatly excited.) 

Sue. Don't dress yourself here! 
Oliver. Have they got him ? 

(Dresses hurriedly, and in great excitement, putting his pants 
on wrong, and wearing the woman s hat and coat, then 
rushes out through d. c.) 

Sue. They will arrest him too, in that condition. 

[EXIT D. c. 

ENTER Seth and Alice l. as the sound of a horse galloping 
is heard without. 

Alice. That is the Major. He may escape them yet. 
(Goes to the door and looks out. The gallop stops suddenly.) 
My God ! The horse has fallen, and the Major is underneath. 
(Approaches Seth in a fainting condition) Oh, Seth, go to 
him, he is badly hurt. (Sits down L. and covers her face 
with her hands.) Oh, God I It is all so cruel. 

Seth. Fate is indeed working against us. (After a glance 
at Alice) [EXIT quickly d. c. 

ENTER Sue and Oliver d. c, and move down c. 

Oliver (sadly). I don't care what they accuse him of, 
he's a good man, and we know it. 

[EXIT into room R. Puts his clothes on as quickly as 
possible, then re-enters and takes position with Sue 
near table r.) 

Sue. Don't cry, Alice, everything will come out all right. 

ENTER Seth supporting the Major, who is badly hurt, 
showing his injuries by a mark across the forehead, and 
his shirt, torn and dirty. Alice rises and helps Seth 
to place him in the chair. ENTER Galloway, Bullard 
and Corey d. c. and stand near the door with heads 
uncovered. Alice caresses the Major tenderly. Seth 
looks on in pity. 

Major (speaking ivifh an effort). It is all over now, dear, 
the life has been crushed out of me. Seth will make you 
happy, far happier than I could ever hojDe to do. 



50 A Fight Against Fate. 

Alice (sohhing). My poor Major. 

Major (gives his hand feebly to Seth). Brother, guard 
her with tenderness and care, for I am going to take a long 
journey this time ! 

(Seth draws away a little as Corey draws near with a loud 
sohj and falls on his knees at the side of the Major.) 

Corey. Forgive me, Major, forgive me! 

Major. It's all right now, Corey. It's all right, boy. 

(Corey draws hack, with his hand to his eyes. The organ 
is heard again, and continues to play until the curtain 
descends.) 

Major. The organist is playing his favorite hymn, " Lead, 
Kindly Light." Perhaps I shall meet his wayward boy where 
I am going! (Half rises with a gasp, and sinks hack) Seth, 
Alice. Wife. (Dies.) 

Corey (ivith a sob). Dead. 

(Alice sinks on her knees with a cry of despair. Seth 
reverently raises his hand.) 

Seth. It is God's way, Alice. His will be done! 

Corey (turns upon Bullard with a cry of hate, and points 
his finger at him). Sheriff, I know of a crime that man 
committed. Turn him over to the police, and I'll testify 
against him! 

(As the curtain descends the Sheriff is seen placing the 
hand-cuffs on Bullard. Corey and he lead him out of 
the room through d. c. with their hands on his shoulder. 
Oliver stands r. with his arm around Sue, whose head 
is resting on his breast. Seth, Alice and the Major 
hold their positions.) 

CURTAIN. 



The Tri|)le Wedding 

A Drama in Three Acts 

|Bi| Charles Barnard 



PRICE 15 CENTS 

Four male, four female characters. A self-made man, two lawyers, m 
would-be author, three young ladies and a maidservant. Time of play- 
ing. I hour. 3 interior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — Poverty. Buttonholes, four cents a dozen. A diffident lover. 
The uncle's will. Greenfield discovers his parentage. His sacrifice. 

Act II. — The search for the heir. The young lover's expectations. The 
man with no name. A new tombstone. Clara accepts the inheritance. 

Act III. — The missing heir is found. He discovers his father. Green- 
field and Clara. The triple wedding. 



ERIN GO BRAQH 

IRISH DRAMA IN THREE ACTS 

By BERNARD F. MOORE 

PRICE 25 CENTS 

Five male, four female characters. Eccentric old man, character heavy, 
leading juvenile, walking gentleman, character comedy. Leading juvenile 
lady, walking lady, heavy character, soubrette. The action is dramatic 
throughout, with a startling climax. Time of playing, 2 hours, i interior, 
a exterior scenes. 

SYNOPSIS OP INCIDENTS. 

Act I. — The convict's escape O'Brien's betrayal. The truce. 
Act II. — "Erin go bragh!" Trapped. The forced promise. 
Act III.— The rebel's pardon. The promise redeemed. Death of Bfanol* 
gaa. Revelation. 



THE MAN FROM MAINE 

A DRAMA IN FIVE ACTS 
By CHARLES TOWNSEND 

PRICE 2S CENTS 

Nine male, three female characters. A young man from Maine, a 
wealthy New Yorker, a young lawyer, a swell English lord, Faro Phila, 
black sheep; a dude, a Bowery bruiser, Billy the Bvim, a darkey servant. 
A social leader, a woman with a history, a Daisy Maine wildflower. Time 
of playing, 2^ hours. 4 interior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — Van Cruger's vanity. The letter. A cool reception. Mrs. 
Bradley's cunning. The question. The threat. 

Act II.— a week later. Some hot words. The decoy letter. A game 
of cards. The biter bitten. 

Act III. — A day later. Phil's scheme. A specimen "tough." An 
untimely arrival. A shrewd adventuress. A brutal couple. The threat. 
A desperate game. 

Act IV. — An hour later. A "dive" in the Bowery. Billy the Bum. 
A hard crowd. The row. A lucky arrival. A struggle for life. Muggins 
learns a lesson. 

Act V. — The next mcrning. A smashed up dude. Nearing the end. 
Mabel's experience. Brought to bay. The last resort. Foiled. 



Timothy Delano's Courtship 

COMEDY IN TWO ACTS 

By MARTHA R. ORNE 

PRICE 15 CENTS 

Two male, three female characters. A rich old gentleman, an old maid, 
a young girl and her brother, a colored servant girl. Time of playing, i ^ 
hours. The old aunt talks in Mrs. Partington's style, i parlor scene. 

SYNOPSIS OF INCIDENTS. 

Act I. — The old aunt insists on her niece accepting old Timothy. Rick's 
little game and the darkey's strategy. 

Act II. — The scheme works. Timothy hears some things which astonish 
him. His escape. Aunt Tabitha catches him on the rebound, and he stays 
caught. 



One copy del to Cat. Div. 



APf? IS 19t1 




^SSSSSSSSSSSS^SSSSSSSSSSS^^S^SSSSSSSSJ' 



MILITARY PLAYS 

25 CENTS EACH 

M. F. 

BY THli. ENEMY'S HANO. 4 Acts; 2 hours 10 

EDWARDS, THE SPY. 5 Acts; 2}^ hours 10 

PRISOXEU OF ANDERSONVIL.LE. 4Acts; 214 hours.. 10 

CAPTAIX DICK. 3 Acts; 1^ hours 

ISABEL, THE PEARL. OF CUBA. 4 Acts; 2 hours. 

LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2% hours 9 
BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 




RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 2J4 hours 9 

AMONG THE BERKSHIRES. 3 Acts; 214 hours 8 

OAK FARM. 3 Acts; 21^ hours; 1 Stage Setting 7 

GREAT WINTERSON MINE. 3Act8;2hour8 6 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2]4 hours 5 

WHEN A MAN'S SINGLE. 3 Acts; 2 hours 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; Ihour... 6 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 



ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUILTING PARTY. 1 Scene 6 11 

BACHELOR MAIDS' REUNION. 1 Scene 8 30 

IN THE FERRY HOUSE. 1 Scene; 1^ hours 19 15 

JAPANESE WEDDING. 1 Scene; 1 hour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; I14 hours 4 4 

YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY^ BACHELORS. Motion Song or Kecitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (15 cents.) 1 Act; 1^ hours 1 13 

OVER THE GARDEN ^VALL. (15 cents) 11 8 



DICK & FITZGERALD, Publishers, 18 Ann Street, N 






lllllH^^^^ n 1911 

^SSSSSSSSSSSSSSSSSSSSSSSSS. 016 215 200 2 # 

COMEDIES AND DRAMAS 

25 CENTS EACH 

BREAKING HIS BONDS. 4Acts;2hours q 3 

BUTTERXUT'S BRIDE. 3 Acts; 2i^ hours n g 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 3 

COUNT OF NO ACCOLTNT. 3 Acts; 214 hours 9 4 

DEACON. 5 Acts; 21^ hours 8 g 

DELEGATES FROM DE]SVER. 2 Acts; 45 nmiutes 3 10 

DOCTOR BY COURTESY. 3 Acts; 2 hours q 5 

EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 

ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 

GIRL FROM PORTO RICO. 3 Acts; 2i^ hours 5 3 

GY'PSY" QUEEN. 4 Acts; 23^ hours 5 3 

IN THE ABSENCE OF SUSAN. 3 Acts; IJ^ hours 4 6 

JAILBIRD. 5 Acts; 2J^ hours 6 3 

JOSIAH'S COURTSHIP. 4 Acts; 2 hours 7 4 

MY LADY DARRELL. 4 Acts; 2]^ hours 9 g 

MY UNCLE FROM INDIA. 4 Acts; 2i^ hours 13 4 

NEXT DOOR, 3Act8;2hours 5 4 

PHYLLIS' S INHERITANCE. 3 Acts; 2 hours g 9 

REGULAR FLIRT. 3 Acts; 2 hours 4 4 

ROGUE'S LUCK. 3Acts;2hour8 5 3 

SQUIRE'S STRATAGEM. 5 Acts; 21^ hours 6 4 

STEEL KING. 4 Acts; 2i^ hours 5 3 

WHAT'S NEXT? 3 Acts; 2i^ hours 7 4 

WHITE LIE. 4Acts; 2i^ hours 4 3 



WESTERN PLAYS 

25 CENTS EACH 

ROCKY" FORD. 4Acts; 2 hours 

GOLDEN GULCH. 3 Acts; 2^ hours 11 

RED ROSETTE. 3Acts;2hours 6 

MISS MOSHER OF COLORADO. 4 Acts; 2^^ hours ... 5 
STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 
CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 214 hours. 

DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



5$SS^S$S$SSS$$SS$SSSSSSSS$$S$$S«S§«S$5S$$S$SSS$$$^ 



LIBRARY OF CONGRESS 



016 215 200 2 ^ 



